宮森敬子 MIYAMORI Keiko


《自画像 1番》2019年   和紙コラージュ、胡粉、木炭、チョーク、インク、アクリル、亜麻布、木枠  213×168 cm
Portrait of Myself, No. 1., 2019, Washi Collage, Shell powder, Charcoal, Chalk, Ink, Acrylic on Linen,
213×168 cm










宮森敬子 解説「A Portrait of Being – 肖像なるもの」から抜粋 「ある小説家の肖像」展 軽井沢高原文庫 有島武郎旧別荘浄月庵、2018年  



Born in Kanagawa, Japan 1964. Lives and works in both Yokohama, Kanagawa, Japan and Brooklyn, New York,U.S.A.


About recent work of MIYAMORI Keiko 

[…] Keiko MIYAMORI’s family was torn apart by WWII, and her Japanese-American grandmother not only witnessed, but experienced conflict within her country and her family, affecting her for the rest of her life as well as the lives of her own children and grandchildren. From the moment that the war started, her grandmother was labeled as a traitor by both countries on the basis of her nationality and that of her spouse and their ancestors. […]

[…] Over many years, long after she had passed, MIYAMORI began to hypothesize about her own mother’s emotions – where and how they were rooted. As a child, her grandmother never spoke of her internal struggles, but left MIYAMORI with lasting memories of tasty American pancakes, gelatinous Jell-O, and exotic imported Hawaiian guava juice, as well as visual memories of those American newspapers that her grandmother would read in solitude. […]

[…] Her grandmother’s suffering was much more complicated than the mere possession of a passport might imply. Being rejected by both sides of her heritage and living with this duality became the inspiration for Keiko MIYAMORI’s artistic focus on exploring what lies beyond the surface. MIYAMORI sought to pull apart the layers under the surface in order to better understand humans and what creates these complicated connections that lie beneath our socio-cultural constructs. By using natural washi and charcoal, she examines parallels with the life of a tree. A tree does not understand nor care that it is a “maple” or a “gingko,” but exists authentically, growing and shedding its bark to remain strong and survive the many trials of nature as they come. The purity of the tree allows MIYAMORI to use tree surfaces to record moments, ephemeral as they may be, but embedded within the infinite layers of eternity. […]

Excerpt from Keiko MIYAMORI – A Portrait of Being  (the exhibition leaflet), in A Portrait of A Novelist, Jogetsu-an in Karuizawa Kogenbunko, Japan, 2018



Please refer to the artist’s website/social media pages for new updates.



《人生の時間を巻き戻す》 2019年 和紙コラージュ(部分)
背面からリン・チャーチル、おどるなつことのパフォーマンスを投影した光景 BankART1929 冬期レジデンスにて
195×395 cm
Rewinding the Time of Life, 2019, Washi Collage and Projected Performance Video with Lyn CHURCHILL and ODORU Natsuko at BankART1929 Winter Residency, 195×395 cm



《誕生・成長・回帰》2018年 和紙、木炭、竹
ギャルリーパリ、横浜 個展会場にて
Birth, Growth, Recursion, 2018, Washi(Japanese paper), Charcoal, Bamboo
Installation with live performance by Tamara and NISHIO Juri at Galerie Paris, Yokohama, Japan



《都市の根》 2006-2007年 木の根、樹脂、金属片、レンガ片 213×198×170.6 cm 撮影 : Nicole Hope Matthew
City Root, 2006-2007, Root, Clear resin, Metal, Bricks, 213×198×170.6 cm Photo by Nicole Hope Matthew