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1999-2011 Kaoru HIRANO
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- Copy right control 2011 Kaoru HIRANO All right reserve -
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1999-2011 Kaoru HIRANO
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- Copy right control 2011 Kaoru HIRANO All right reserve -
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Kaoru HIRANO Solo Exhibitions Group Exhibitions Workshop Bibliography Writing by the Artist Dissertation: “What conceal one and concealed one” |
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38 untitled -Berliner Flag- 2011 Berliner flag 7mx30cm (WxH) |
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35 untitled -dress- 2010 dress(Berlin) |
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34 untitled -stockings- 2010 a pair of worn-out Neukölln girl's stockings |
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31 untitled -panties- 2009 panties |
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30 untitled -grandmother- 2009 cook's apron |
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29 untitled -rose lingerie- 2009 lingerie |
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28 untitled -red NIKE- 2009 sneaker |
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27 untitled -jacket- 2008 jacket(New York) |
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26 untitled -red slip- 2008 slip |
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25 untitled -mother and baby- 2008 dress, baby clothes |
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24 untitled -lingerie- 2008 lingerie |
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23 untitled -slip- 2007 slip |
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21 dream flower 2007 feather of pillow |
| 20 untitled -purse /en- 2007 purse, coin |
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| 19 untitled -hair ring- 2007 pink hair ring |
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18 untitled -dress- 2007 dress(Tokyo) |
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17 untitled -block shirt- 2006 shirt |
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| 14 untitled -umbrella- 2006 umbrella |
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13 untitled -skirt- 2006 skirt |
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untitled -stockings- 2005 stockings |
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untitled 2005 black shirt, time clock, time card |
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Miss. 1999 brassiere, panties 422cmx616cm (WxD) |
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self portrait 2000 pajamas, bed, carpet 40cmx352cmx261cm(HxWxD) |
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self portrait 1999 cotton, acrylic board, paint on wood, pin |
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Unravelling artworks / text by Hitoshi DEHARA
The work of Hirano Kaoru centers on the painstaking unravelling of fibers one by one from old clothing and other fabrics. The bundles of fiber left after dismantling garments until they are no longer recognizable as such are spread across walls, floors and entirerooms as works of art. Note first of all that one attraction of Hirano's work is this successful spanning of a spectrum from intricacy that demands close attention, to expansion into space. Even so, how ought we interpret work that requires such a huge investment of time and labor? By viewing it from a number of perspectives, perhaps. For example, the task of unravelling by hand garment woven in elaborate detail and of uniform quality by machine could be read as a symbolic act of questioning, examining and dismantling existing things or systems by the individual. Correlation of this kind with a relatively grand narrative is perhaps what gives Hirano's labors the stamp of authenticity as art. Alternatively, as a quest of sorts : an attempt to shed light on the history of the body that once inhabited the clothing. Even if difficult at times for the viewer to detect, the task of stripping clothes of their form and function is in a way a small wager on the part of the artist that a link with the body can be maintained, and probably one of the few certainties to be encountered through the process. Then there is the formal aspect. That is, regarding the garment as a plane and fibers as lines. Imagine here a progression of what Kandinsky referred to as point - line - plane, and the dismantling of a piece of clothing into fibers becomes what one might call a shift to a lower dimension, a return to elements lower in the hierarchy, a manifestation of powers and power relationships such as kineticism, traction, and tension. Hirano employs these innumerable lines as the compositional elements of her installations. The latter two, physicality and form (or, spatiality) provide the main subject matter of her work. As each is an independent subject, they can also be used together, or separately. The strengths and weaknesses of each differ according to the individual work. And the intriguing thing is, the most recent pieces retain a certain unity, meaning Hirano herself thinks of them in a sculptural way. If one considers the foundations of sculpture to be the human form, then perhaps it is also permissible to read into Hirano's work the possibility of interweaving a physicality different again to the traces and memories mentioned earlier. How does the act of dismantling (and recomposing) connect, or sever the threads of the body, and those of the space? And does this give rise to any inversion or reversal of meaning? Before Hirano lies a vast realm indeed. No doubt she will continue to weave her fabrics using these two key threads, and unravel each issue that emerges therein. |
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shiseido art egg / text by Miho MORIMOTO
Kaoru HiranoThe material that Hirano Kaoru takes as her artistic medium are none other than ordinary object ("things") that have spent their days among us. Pieces of old clothing, for example, once worn by the artist herself or by someone else, remain permeated with a sense of "having belonged to someone." Warmth. Body contours. Odors and fragrances. The passage of time. Memories. All of these remain inherent in such objects, although sublimated into what can only be understood as vague "signs" of the past. It is these indistinct sighs that draw Hirano's attention. Guided by such hints and reminiscences, her creative technique is to deconstruct the original fabric to reduce it to its constituent warp and weft threads, then reconnect these as they were originally arranged to form the completely new artistic constructions. This startlingly consuming approach to creative expression is underlain by Hirano's world-view that "all that comprises the world is inevitably transformed and reborn as something else." While unraveling the threads of a piece of clothing dissolves its former function and brings its life as a garment to an end, reconnecting these as the warp and weft of a new creation gives them a new life. In doing so, the vestiges of the former wearer are carried along and emerge in a new form. Among Hirano's recent works is the yurt-like structure now hanging from the celling of the Shiseido Gallery's central exhibition space, a piece she created from the threads of a black floral-print sundress that had belonged to a friend. The construction and display of this work allow visitors to walk all around it and even to step inside. The delicate threads, undulating faintly in the room's air conditioning, spin out forms reminiscent of blood vessels or the veins of leaves, lines that trace the flows of life, engendering a space within where visitors can experience both a womb-like peacefulness and a sense of freedom and release. In the smaller gallery, a set of time cards marking the time Hirano spent creating this work is on display. This exhibit helps visitors experience for themselves the enormous flow of time required for this simple sundress to be dissolved and reborn. Another set of cards recorded the times during the four-day open exhibition when Hirano was working live in the gallery, marking the work as a whole with a kind of "ongoing cell division" effect. Hirano has said that from now on she intends to take on the challenges offered by materials other than fabric and thread. Believing as she does in "cycles of life," she embraces artistic creation over enormous amounts of time. In an age when information can spread instantly across the globe, her work brings into view the magnificent flow of time over which the "cycles" of the world take place, and reminds us of the fact that we, too, occupy our own small part in that vastly larger scheme. |
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Kaoru HIRANO : kaoru-ru@agate.plala.or.jp
SCAI THE BATHHOUSE : www.scaithebathhouse.com |