HOME ＞ Calligraphy ＞ Installation Artworks
Installation Artworks｜インスタレーション作品
Characters shape space.
When placed in space, characters transcend meaning and become scenery.Calligraphy shifts—from something to read, to something to feel.
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文字が空間を描く。
空間に置かれた文字は、意味を超えて風景になる。書は、読むものから、感じるものへ。
From the resonance between space and the written word emerge new landscapes and experiences.
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Signature Works
A seminal work that most concisely embodies the series’ concept and served as the foundation for subsequent variations and international presentations.
Crowded 1/3
Intersection of Space and Text.
This seminal work, in which spatial composition and written characters intersect, opened new horizons for artistic expression.
First presented in 2006 at Gallery Haneusagi, Kyoto, it was subsequently re-exhibited both domestically and internationally, giving rise to derivative pieces and adaptations within commercial environments.
The link is coming soon.
Outline
Filling Space with Text.
In 2007, as an invited artist at the 13th Sen Exhibition, the artist presented a large-scale installation that completely covered an entire room of the Kyoto Municipal Museum of Art with writing.
In order to eliminate meaning and devote herself solely to the act of writing, she employed sequences of Japanese words—grammatically structured yet devoid of meaning—created by the artist herself.
The entire space became a sea of characters, enveloping the viewer.
The link is coming soon.
Invited & Re-staged Exhibitions
Records of exhibitions in Japan and abroad featuring the artist’s representative works.
Each presentation was reconfigured to respond to the specific spatial conditions and curatorial concepts of the host venue.
Crowded 1/3
《Crowded 1/3》
First showing : Gallery Haneusagi (Kyoto, Japan)／June 2006
《Crowded 1/3 high》｜Kaigan-dori Gallery CASO (Osaka, Japan)／August 2006
— Adapted into a vertical configuration to take advantage of the venue’s high ceilings.
The 1st Itami City Kura Futo Town Museum Exhibition — Invited Artist｜Former Okada Residence (Itami, Japan)／November 2006
— Reconfigured to extend the work’s spatial reach, making use of the depth and traditional layout of a machiya townhouse.
GJ Art Rainbow Exhibition — Invited Artist｜Kunsthalle Rostock (Rostock, Germany)／April 2007
— Reconfigured the exhibition layout to suit the spatial characteristics of the German museum, incorporating on-site production and presenting the work in the traditional kakejiku (hanging scroll) format.
Traces of Time, Traces of Words: Artists from Japan — Invited Artist｜Casa de Cultura (Buenos Aires, Argentina)／March 2011
— Reconstructed the fabric-based installation to suit the local exhibition environment.
Hankyu Department Store Display｜Hankyu Umeda Main Store (Osaka, Japan)／Summer 2011
— Presented in a commercial setting, emphasizing the tactile qualities of the materials and the structural beauty to enhance visual impact.
The link is coming soon.
Outline
《Outline》
First showing : The 13th SEN Exhibition — Invited Artist｜Kyoto Municipal Museum of Art (Kyoto, Japan)／April 2007
Tsubasa Kimura Calligraphy Exhibition｜Aste Kawanishi (Hyogo, Japan)／September 2007
— Structured as a solo presentation within a public space.
Traces of Time, Traces of Words: Artists from Japan — Invited Artist｜Casa de Cultura (Buenos Aires, Argentina)／March 2011
— Presented in accordance with the curatorial vision of the exhibition.
TRACES OF WORDS: Art and Calligraphy of Asia｜Museum of Anthropology at the University of British Columbia (MOA) (Vancouver, Canada)／May 2017
— Presented in accordance with the curatorial vision of the exhibition.
The link is coming soon.
Original Series — Crowd Series
The Crowd Series is a trilogy that marks the artist’s early landmark works and serves as the point of departure for her artistic inquiry.
The gaze converges; existence resides solely here.
Comprising three exhibitions presented in Kyoto in 2005, the series takes “the crowd” as its central theme. Beginning with Crowd, followed by After the Crowd and ,and crowd lost., the works unfold in a narrative sequence.A vast whole and the multitude of small individuals—perhaps the two are bound by an equal sign.
From whole to individual, and from individual to self—this progression reconsiders the line drawn between the collective and the singular.
Crowd — ShinPuhKan, 3F Transgenre Space (Kyoto, Japan)／April 2005
— A large-scale installation filling the space, presenting the entirety of “the crowd.”
After the Crowd — Gallery Haneusagi (Kyoto, Japan)／September 2005
— Deconstructed Crowd into countless small works, reconfiguring its form.
,and crowd lost. — Gallery Kura + Kyoto SHIPS MEN’S (Kyoto, Japan)／December 2005
— Letters covered the inside and outside of a cube the size of the artist’s own body, symbolizing the shift in perspective from the individual to the self.
The link is coming soon.
Original Series — Crowded Series
The Crowded series is a tetralogy presented in 2006. While including a derivative work, each part maintains its own theme, forming a key project in which the artist’s early inquiries expanded into a series.
What is Seen Between the Visible and the Invisible.
That which becomes visible between the visible and the invisible.
Consisting of four exhibitions presented in 2006, the Crowded series began with the seminal Crowded 1/3, followed by the derivative Crowded 1/3 high, and expanded into Crowded 2/3 and Crowded 3/3.
Through the use of translucent fabrics, monochromatic text, and the manipulation of light and shadow, the works reexamine the threshold between presence and absence, visibility and invisibility.
Crowded 1/3 — Gallery Haneusagi (Kyoto, Japan)／June 2006
— Text inscribed on sheer silk organza filled the space; through the translucent support, lines drifted, overlapped, and reflected both the surrounding environment and the space beyond.
Crowded 1/3 high — Kaigan-dori Gallery CASO (Osaka, Japan)／August 2006
— An adaptation of Crowded 1/3 extended vertically to emphasize a heightened sense of density.
Crowded 2/3 — Ishida Taiseisha (Kyoto, Japan)／September 2006
— White text on white ground and black text on black ground flanked a central, indistinct human body print of the artist. The floor before it was covered with discarded paper, physically obstructing close approach.
Crowded 3/3 — Gallery Kanoko (Kyoto, Japan)／October 2006
— In a traditional tatami room, the work posed the question: Is it the presence that shapes the line, or the absence?—articulated through the interplay of light and shadow.
The link is coming soon.
Special Projects—Installation-based
This section presents examples of installation works newly conceived and created in response to specific themes or curatorial requests.
“-29.-”｜Gallery Haneusagi (Kyoto, Japan)／October 2007
— Presented as a solo exhibition. The spatial composition and thematic concept were developed in direct response to the venue, featuring a bamboo-based installation whose inscribed characters gradually faded with the passage of time.
Tsubasa Kimura Calligraphy Exhibition｜Rinkain, Myoshinji Temple (Kyoto, Japan)／September 2008
— Installed to harmonize with the architecture and serene atmosphere of a Zen temple, creating a contemplative environment for the works.
Tsubasa Kimura 10th Anniversary Calligraphy Exhibition｜Hyogo Prefectural Museum of Art (Hyogo, Japan)／November 2008
— A large-scale solo exhibition commemorating the artist’s tenth anniversary, bringing together a wide range of her calligraphic works.
Japan–Belgium Letter Arts Exhibition — Invited Artist｜BankART NY (Yokohama, Japan)／July 2009
— Represented Japan in an international letter arts exchange exhibition.
Re-exhibited in:
Ephemeral Yet Eternal Words: Traces of Asia — Invited Artist｜The Australian National University (Canberra, Australia)／April 2010
— Presented the above work in an exhibition themed on the cultural traces of Asia.
The link is coming soon.