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Special Projects
Special Projects represent large-scale commissioned works and curated productions. Unlike self-initiated exhibitions, these projects differ in style from the artist’s own practice, yet they have played a significant role in shaping her career.
Installation-based(例:依頼された大規模展示)
Bird Brush-based(例:《鳥筆詩選》)
Experimental Media(手漉き和紙、刺繍、陶器など)
“-29.-”
“Tsubasa Kimura Calligraphy Exhibition”
“Tsubasa Kimura 10th Calligraphy Exhibition”
“Japan–Belgium Letter Arts Exhibition”
“Ephemeral Yet Eternal Words: The Shadow of Asia”
"Selected Poems of Bird Brush"
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→ “-29.-”|Gallery Hanesagi (Kyoto, Japan) / Oct. 2007
→ “Tsubasa Kimura Calligraphy Exhibition”|Rinka-in, Myoshin-ji Temple (Kyoto, Japan) / Sep. 2008
→ “Tsubasa Kimura 10th Calligraphy Exhibition”|Hyogo Prefectural Museum of Art (Hyogo, Japan) / Nov. 2008
→ “Japan–Belgium Letter Arts Exhibition” Invited Artist|BankART NY (Yokohama, Japan) / Jul. 2009
→ Invitations & Re-exhibitions
“Ephemeral Yet Eternal Words: The Shadow of Asia” Invited Artist|Australian National University (Canberra, Australia) / Apr. 2010
→"Selected Poems of Bird Brush" TSUBASA KIMURA Museum (Osaka, Japan) / 2011
“-29.-”
August 2006
“-29.-”
Venue: Kaigan-dori Gallery CASO (Osaka, Japan)
Category: Re-staged presentation
— Revised into a vertical composition that made full use of the ceiling height.
【Venue Photographs】
Dimensions: H 375 cm × W 107 cm × 27 pieces
Materials: Sumi ink on silk organza
“Tsubasa Kimura Calligraphy Exhibition”
August 2006
“Tsubasa Kimura Calligraphy Exhibition”
Venue: Kaigan-dori Gallery CASO (Osaka, Japan)
Category: Re-staged presentation
— Revised into a vertical composition that made full use of the ceiling height.
【Venue Photographs】
“Tsubasa Kimura 10th Calligraphy Exhibition”
August 2006
“Tsubasa Kimura 10th Calligraphy Exhibition”
Venue: Kaigan-dori Gallery CASO (Osaka, Japan)
Category: Re-staged presentation
— Revised into a vertical composition that made full use of the ceiling height.
【Venue Photographs】
“Japan–Belgium Letter Arts Exhibition”
August 2006
“Japan–Belgium Letter Arts Exhibition” Invited Artist
Venue: Kaigan-dori Gallery CASO (Osaka, Japan)
Category: Re-staged presentation
— Revised into a vertical composition that made full use of the ceiling height.
【Venue Photographs】
Dimensions: H 375 cm × W 107 cm × 27 pieces
Materials: Sumi ink on silk organza
Invitations & Re-exhibitions
“Ephemeral Yet Eternal Words: The Shadow of Asia”
August 2006
“Ephemeral Yet Eternal Words: The Shadow of Asia” Invited Artist
Venue: Kaigan-dori Gallery CASO (Osaka, Japan)
Category: Re-staged presentation
— Revised into a vertical composition that made full use of the ceiling height.
【Venue Photographs】
Dimensions: H 375 cm × W 107 cm × 27 pieces
Materials: Sumi ink on silk organza
"Selected Poems of Bird Brush"
August 2006
"Selected Poems of Bird Brush"
Venue: Kaigan-dori Gallery CASO (Osaka, Japan)
Category: Re-staged presentation
— Revised into a vertical composition that made full use of the ceiling height.
【Venue Photographs】


松尾芭蕉の句

120x240(cm)
[Matsuo Bashō — Haiku]
The early summer rains —
gathered together, they swell,
the Mogami River.
In utter silence,
the cicadas’ voices penetrate
deep into the rocks.
In the depth of autumn —
what kind of person, I wonder,
lives in the house next door?
How curious —
could it be snow, this winter rain?
『平家物語』祇園精舎

120x240(cm)
[The Tale of the Heike — “Gion Shōja”]
The sound of the bell of the Gion Shōja temple
echoes the impermanence of all things.
The color of the sāla flowers
reveals the truth that the prosperous must decline.
The proud do not endure,
but vanish like a dream on a spring night.
The mighty fall at last,
resembling nothing so much
as dust before the wind.
鴨長明『方丈記』

120x240(cm)
[Kamo no Chōmei — Hōjōki]
*The flow of the river is ceaseless,
and yet the water is never the same.
The bubbles that float upon its surface
form and break, never lingering for long.
So it is with people and their dwellings in this world.
In the jeweled capital,
roofs stand shoulder to shoulder,
grand houses compete in splendor.
Yet if one asks whether they remain unchanged,
few are the same as in former times.
Some are destroyed by fire one year
and rebuilt the next;
some great houses decline to small ones.
It is the same with their inhabitants:
though the place remains and the people are many,
of those once known,
only one or two remain among twenty or thirty.
To die in the morning, to be born in the evening —
such is the way of the world,
like bubbles upon the water.
We do not know from where the people who are born and die come,
nor to where they go.
Why should one trouble the heart
over a temporary dwelling?
What should one rejoice in with the eyes?
Owner and house alike depart together,
subject to impermanence,
like the dewdrops upon the morning glory.
Sometimes the dew falls,
and the flower alone remains.*
松尾芭蕉『奥の細道』

120x240(cm)
[Matsuo Bashō — Oku no Hosomichi]
The passing days are eternal travelers;
the years that come and go are likewise wayfarers.
春夏秋冬(『枕草子』より)

120x240(cm)
[Seasons — from The Pillow Book]
Spring — the dawn.
Summer — the night.
Autumn — the evening.
Winter — the early morning.