岸かおる KISHI Kaoru

《spare-part》 2013年 布、ビーズ、糸、木粘土  10.8×10.8×7.5 cm 撮影: 田村政実
spare-part   2013   Fabric, Beads, Wood clay  10.8×10.8×7.5 cm    Photo by TAMURA Masami




1956年 広島市生まれ。広島市在住、活動。





Born in Hiroshima, Japan in 1956.  Lives and works in Hiroshima.

Taking a different path, Kishi Kaoru studied industrial design at the Kyoto Institute of Technology. She married soon after graduation, and raised three children. After she sent them off into society, while in her fifties, she resumed her studies at the Graduate School of Hiroshima City University in 2009, in the city in which she lived. This marked the start of her artistic activities; thus, the inception of her career was exceptionally late. Nonetheless, Kishi has opened her horizons to a variety of social issues, including how society expects women to act and to live; the four inevitable elements in life (birth, aging, sickness and death); nationhood; ideological differences; warfare; nuclear development; and the environment. In her works, she has adopted methods that fully utilize the skills involved in such tasks as cooking and sewing, which she cultivated during the many years she was a housewife.
In this exhibition, she aimed to visualize the problems involving the advanced medical treatment of heart transplantation in regard to the weight and value of a human life. Namely, she exhibited ten beautiful, life-sized, heart-shaped objects, each adorned with a variety of colors and patterns, through using the elaborate techniques of kimekomi (traditional method of tucking fabric into grooves) and bead embroidery. Many of them were new works she created for this exhibition.
In addition, she showed Ren, a set of three works for which also adopted the motif of a heart. Kishi created these works from kimonos, sashes, and strings used to hold up the sashes, which were originally made for celebrations. That is, the kimonos were for the Shichi-go-san festival for girls who had turned three and seven, and for the Coming-of-Age-Day ceremony for those who had turned twenty. In Japan, the ages of three, seven and twenty are considered traditional rites of passage for women. Kishi placed each of the three works on a pedestal, which was made to be at the height of the heart at those respective ages. These works also raised an objection to the rituals that have been forced on the lives of Japanese women by tradition (and to the oppression Kishi felt for half of her lifetime serving as a housewife). We must not be deceived by the beautiful appearances of her works and overlook the severe social criticism and sense of distress that exist in their depths.

Excerpt from Kokatsu Reiko, “The Shouts and Murmurs of Women-Did the Vulnerable Collective Change the World ?”, The Shouts and Murmurs of Women-the Vulnerable Collective Will Change the World (Exh.Cat.), egó eímai collective, 2020 (Translated by NANPEI Taeko) 


Please refer to the artist’s website for new updates.




《連》 2018年  着物、帯、志古貴、帯揚げ、帯締め、髪飾り(以上古着)、羊毛 インスタレーション サイズ可変   都美セレクション グループ展 2019 会場風景  東京都美術館 ギャラリーB 撮影:坂田峰夫
continuance  2018, Kimono, Sashes, Strings, Hair ornament (all used items), Wool wadding,  Installation, Size variable  Group Show of Contemporary Artists 2019, Tokyo Metropolitan Art Museum Gallery B, Photo by SAKATA Mineo



connect2012年 古靴下、詰め綿、単芯ビニールコード インスタレーション(サイズ可変)
connect  2012 Used socks, Cotton wadding, Vinyl cable, Installation, Size variable



《きのこ雲》2010年  お菓子、アクリルケース、写真、シール  アクリルケース:12.5×40×40cm  写真:40×40cm  お菓子: 10×12×12cm~3×7×7cm(最大〜最小)撮影:鹿田義彦
Nuclear cloud   2010  Confectionery, Acrylic case, Digital print, Sticker  Acrylic case:12.5×40×40cm,  Digital print:40×40cm   Confectionaery: 10×12×12cm~3×7×7cm(max. to min.)   Photo by SHIKADA Yoshihiko