AKIKO SUZUKI :
paints through fabric, thread, ANTIQUE kimono fragments, color, organdy, light, passion and dread; fear of life; fear of death; the legacy of imperial and demolished japan the pride and sentiment of the new age that consolidates the old with twists of new seeking identities fragile and ephemeral as a smoke passing through humor and pain; sown uncertainty with a soft bravado bedeviled breath of female arts sanctioned and reclaimed distorted turned thread to gold and gold to shards of enlightenment; sewn sinews of distant shadow memory: japan reduced in fire and returned to economic delusion trick-daddy mickey mouse and Arby’s Roast Beef franchise and Geisha in a Bentley with tired salary man misled and misrepresented a corporation too far, too tangled to trust and homage to the nuclear age/wage/waste that still shudders in meltdown poisoned sushi scorched earth gone global in a yugen moment of frozen dark beauty of doom…and for all that Akiko offers light…
SOME THOUGHT ABOUT TWO OF MY WORKS:
“Eat your bones”
Mysterious shapes appeared when I sought to remake and cut a failing quilt.
I felt stiff, uncertain and square at first. But it became an interesting form full of heart by sublimating to the forms suggested by organdy; it was studded with white bone in it… Wire brass arc is like a reincarnation .
The countless black lines are the hairs from my original quilt.
In the feelings of the Japanese, hair reminds one of the deep pathos within, often.
“Love under my skin”
Combining red clothes that it is no longer needed in the production of an earlier piece; expressing the freshness and blood of the body by sewing machine work and painting. Finally to express the difference of skin color
as iconic races I put the black and white organdy and stitched by machine.
Red cloth that was used on the edge and polka dots around the center is the underwear of women in kimono called “Momi “.
It is a most sensual element for us .
Sartre said that ” Can you love their flesh and bones ?” .
I was ruminating that thought in my mind many times as a teenager .
Ask a big love on the part of human nature that exceeds and transcends the difference of country, race, religion, lifestyle … Or,ultimately, we can love flesh and
blood of a loved one. And have you ever loved someone enough to want to eat everything…the bone and flesh of the person?
as a Limited question…..It is also the question of the existence of human beings.
AKIKO SUZUKI:
My story of making contemporary quilts
I have loved to paint since I was a child.
I thought that I wanted to be a painter at first, but it was actually making pictures
and three-dimensional works that captivated me, then experiments in video mainly in the College of Art . I did a little bit of work in industrial design , but then , after marriage , I was a housewife for a while and spent time in for child-rearing . But my desire for creation has
motivated me, and I had started naturally to create with cloth using a needle and thread . My mother was a craftsman of embroidery and
my grandmother was a Kimono maker . I grew up listening to
the sound of the scissors and needle in my childhood . I think this effect is very important for me. Needle and thread and fabric are steeped deep in my body and blood.
23 years Ago, I began to make and study patchwork quilt making.
I was making works using the antique kimono first from the effects of my grandmother and my teacher (Michiko Shima) at the time. But my design is not traditional from first, it was abstract from the beginning.
Mostly because I can express well the feelings of
myself through abstract shapes.
In 1997, I took part in the workshop of Nancy Crow who is a pioneer of contemporary American quilt making. I stopped making quilts using a pattern at that time , it was a major turning point in my quilt production.
Also I participated in the project of Carl Heyward in Facebook KNEE(jerk)Fragmentation PROJECT
last year. This also became a major turning point in that I was greatly effected by his works and that of his great and talented friends. Usually I made larger works by grafting smaller pieces together. I became fascinated by the interesting form that is born from the repetition that can be re-configured to be cut again, realized, reduced, fragmented and made large again with newer fragments from all over the world.
I noticed the beauty of waste.
I am very grateful that I received the lovely fragment of an image from him.. and It has grown in me I appreciate him and acknowledgement that I was able to move
to a new stage of possibility into a realm of freer expression.
Currently , I make original clothes by painting and dying
and sew heavily by machine, work on which is a combination of the fabric adding organdy , more painting, burning by the soldering iron, etc.
I am going to try to express the complex texture like painting
by superimposition in many layers . But , not only this , I am looking for
something new in the image always , I do not stick to one style or mode of production methods . I intend to pursue production from various angles well into the future .
Also , It is the Story that is very important to me to produce .
My works are always my novels . Because I can not get my mental stability
without projecting on to my works my feelings that change each time .
Finally , I have made many contemporary quilts from my expression, from emotion…
but I love the traditional quilt also of course .
Warmth surrounded by love; nostalgic feeling; gentle heart
for a human… I feel that quilts are made by joining many hearts and minds instead of being exclusively made only in connection to the making of clothes.
Exquisite works showing a depth of understanding of texture, technique and composition in the abstraction of the traditionally delicate art form of tapestry. They are bold and well balanced while at the same time showing a tranquil harmony with, literally, an interwoven sense of the physical and emotional. I love them.
las obras de Aklko son maravillosas!!!!!
This is fabulous work…………, I love it !
…………………………..
Ana Gabiño Gabiño:
Por Carl Heyward : AKIKO SUZUKI: pinturas a través de la tela, hilo, kimonos antiguos fragmentos, color, organdí, luz, pasión y temor; miedo a la vida; miedo a la muerte; el legado de imperial y demolido Japón el orgullo y el sentimiento de la nueva edad que consolida al viejo con giros de nuevas identidades buscan frágiles y etéreas como un humo pasa a través de humor y dolor; sembrado incertidumbre con una bravura suave endiablado aliento de Artes femeninas sancionados y reclamado distorsionada volvió hilo de oro y oro a fragmentos de la iluminación; cosido con tendones de memoria lejana sombra: Japón redujo en fuego y regresó a la ilusión económica truco-padre del ratón de mickey y franquicia de rosbif y Geisha en un Bentley con asalariado cansado Arby engañado y tergiversado una corporación demasiado lejos, demasiado enredada a confianza y homenaje al era nuclear/salario/residuos que aún se estremece en debacle envenenado sushi tierra arrasada vuelto global en un momento de yugen de congelados belleza oscura de doom… y Akiko por todo lo que ofrece la luz… Formas misteriosa imagen algunos pensó acerca de dos de mis obras: “comer tus huesos” aparecieron cuando buscaba rehacer y cortar una colcha de falla.Me sentí tieso, incierto y cuadrado al principio. Pero se convirtió en una forma interesante de corazón por sublimación a las formas sugeridas por organdí; estaba salpicada de blanco hueso en él… Arco de alambre latón es como una reencarnación.Las líneas negras incontables son los pelos de mi colcha original.En los sentimientos de los japoneses, cabello recuerda el profundo patetismo dentro, a menudo.”Amor debajo de mi piel “combinando rojo ropa que ya no es necesaria en la producción de una pieza anterior; expresando la frescura y la sangre del cuerpo por el trabajo de la máquina de coser y pintura. Finalmente expresar la diferencia de razas icónico piel coloras puso el organdí blanco y negro y cosido por la máquina.Paño rojo que se utilizó en el borde y lunares alrededor del centro es la ropa interior de mujer en kimono llamado “Momi”.Es un elemento más sensual para nosotros.Sartre dijo que “puedes amar su carne y huesos?”.Yo estaba pensando ese pensamiento en mi mente muchas veces cuando era adolescente.Pedimos un gran amor por parte de la naturaleza humana que supera y trasciende la diferencia de raza, religión, país, estilo de vida… O, en última instancia, podemos amar andblood carne de un ser querido. Y has querido tanto a alguien como a querer comer todo el hueso y la carne de la persona? como una cuestión limitada…Es también la cuestión de la existencia de los seres humanos. AKIKO SUZUKI
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It really is a sweet and wonderful surprise to find these jobs, and very grateful to Carl to get closer to this world that exprtesa through more intimate way of being human, I think the words are useless, Thanks for sharing Akiko Suzuki, are fantastic… Gracias por poner tanto amor en tu hacer
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Ana Gabiño Gabiño:
Por Carl Heyward : AKIKO SUZUKI: pinturas a través de la tela, hilo, kimonos antiguos fragmentos, color, organdí, luz, pasión y temor; miedo a la vida; miedo a la muerte; el legado de imperial y demolido Japón el orgullo y el sentimiento de la nueva edad que consolida al viejo con giros de nuevas identidades buscan frágiles y etéreas como un humo pasa a través de humor y dolor; sembrado incertidumbre con una bravura suave endiablado aliento de Artes femeninas sancionados y reclamado distorsionada volvió hilo de oro y oro a fragmentos de la iluminación; cosido con tendones de memoria lejana sombra: Japón redujo en fuego y regresó a la ilusión económica truco-padre del ratón de mickey y franquicia de rosbif y Geisha en un Bentley con asalariado cansado Arby engañado y tergiversado una corporación demasiado lejos, demasiado enredada a confianza y homenaje al era nuclear/salario/residuos que aún se estremece en debacle envenenado sushi tierra arrasada vuelto global en un momento de yugen de congelados belleza oscura de doom… y Akiko por todo lo que ofrece la luz… Formas misteriosa imagen algunos pensó acerca de dos de mis obras: “comer tus huesos” aparecieron cuando buscaba rehacer y cortar una colcha de falla.Me sentí tieso, incierto y cuadrado al principio. Pero se convirtió en una forma interesante de corazón por sublimación a las formas sugeridas por organdí; estaba salpicada de blanco hueso en él… Arco de alambre latón es como una reencarnación.Las líneas negras incontables son los pelos de mi colcha original.En los sentimientos de los japoneses, cabello recuerda el profundo patetismo dentro, a menudo.”Amor debajo de mi piel “combinando rojo ropa que ya no es necesaria en la producción de u
alrededor del centro es la ropa interior de mujer en kimono llamado “Momi”.Es un elemento más sensual para nosotros.Sartre dijo que “puedes amar su carne y huesos?”.Yo estaba pensando ese pensamiento en mi mente muchas veces cuando era adolescente.Pedimos un gran amor por parte de la naturaleza humana que supera y trasciende la diferencia de raza, religión, país, estilo de vida… O, en última instancia, podemos amar andblood carne de un ser querido. Y has querido tanto a alguien como a querer comer todo el hueso y la carne de la persona? como una cuestión limitada…Es también la cuestión de la existencia de los seres humanos. AKIKO SUZUKI
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Reblogged this on spontaneouscombustionlanguageimagelab.
The tapestry has always attracted my attention, as well as other forms of art than I don’t do. The work of Akiko Suzuki is interesting and well structured at first sight. Her works are abstract collages and the difference of that work is in the materials used that define traditionally the tapestry. Howeve,r I prefer to fit the language of her works in a broader horizon, in the world of art in general, and not just limited to the world of tapestry. But it’s always interesting to know the story behind the artist, and in this case, it’s very interesting to see the influence that some artists can have on others. It’s the case of Akiko: after she came into contact with the art of Carl Heyward she changed some aspects of their work without losing her identity. I like a lot. She’s a very talented artist.
Akiko, one comment reminded me of one of my favourite books studied at school, Lord of the flies, another was your mention of my favourite philosopher Sartre, both and the last quilt shown here as a picture remind me of a photo of a gum tree I took a few nights ago, the sunset lit one side the other was dark; my point I feel the last quilt represented beautifully, all that I have mentioned, human nature, where the sunshine touches it, and the darkside that can be within us all, just as it can be within a nations history, Eg., our own Australian treatment of the original aboriginal owners of the land….
Your stitching is beautiful, and the last piece exceptional in its use of light and shade……
Ms Wilson:
Your reading of both the work of Suzuki as well as the article illustrates the power of the interaction of viewer with voice of the artist/ image / personal experience / shadows of preconception and a willingness to be open to the elements of the harshest of human potentialities as well as the most sublime; LOTUS in the cesspool and all that.
nice work, sharing it on FB now
nice work !
……………………..
Nicole De Doelder:
The Artist expresses her personal feelings of fear, her longings, most beautifully. Quilts are works of art equalling the most beautiful paintings and they are so physical, so tangible (you can touch them, feel their warmth). I admire everything that is woven, etc. because it gives you a nearness, a warmth, a consolation.
Her work is very beautiful… Touching… So nice to see this post..
bellissimo
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Surmayee Suramya:
Thank you, Carl! This is so inspiring…makes me want to work with colour, texture..thread and cloth again (i have a textile and craft design background)….used to be able to make nice textile prints and charcoal drawings (i liked them!) want to get back to all that soon!
Beautiful!!!!!! Inspiring Makes me want to bring cloth into my work!!
Very Good!
https://www.facebook.com/carl.heyward/media_set?set=a.624456994272830&type=1
Akiko Suzuki: 2013
“Eat your bones” 112x95cm 44″x37″
Hand-dyed Cotton and Silk organdy, Antique kimono, brass wire, floss silk
Machine stitch
2013
“Love under my skin” 135x80cm 53″x32″
Hand-dyed Cotton and Silk organdy, Antique kimono
Machine stitch, Painting
Delicately Beautiful fragments, given a new expression and representation by AKIKO SUZUKI !!!
Fantactic works congratulations !!!
Nice works 🙂 Well done! much impressed with it. Cheers, JOAO
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Catherine Thomas
very nice site !! Very fantastic Akiko, wonderful Art work !!!!!!!!!!!!! Thank you Carl ,you are doing ………..many many good actions for artists ,and for Art of course !!!
cool!!!
Beautiful intense work full of depth
https://www.facebook.com/notes/akiko-suzuki/%E3%82%AB%E3%83%BC%E3%83%AB%E3%83%98%E3%82%A4%E3%83%AF%E3%83%BC%E3%83%89%E6%B0%8F%E3%81%8B%E3%82%89%E7%A7%81%E3%81%AE%E4%BD%9C%E5%93%81%E3%81%B8%E3%81%AE%E5%AF%84%E7%A8%BF%E6%96%87articles-from-carl-heyward-to-my-works/565178120203435
Akiko Suzuki : (文:カール・ヘイワード)
着彩された布、糸、古布の断片、色、オーガンディ、光情熱と不安、人生への恐れ、死への恐れ帝国の遺産と取り壊される日本の誇り、壊れやすい空気のような新しく模索するアイデンティティ、ユーモアと痛みからのある煙として、許しと埋没する歪みを女性アーティストの柔らかい虚勢の悩ましい息吹とともに散りばめられた不確実性が悟りの破片へと糸と金と金に回避した、遠い記憶の影の中の縫子の手、日本は火の中に減少し、疲れたサラリーマンと行き過ぎた会社の誤報という美しさの中の経済妄想の偽ミッキーマウスパパとアービーズローストビーフフランチャイズと芸者に揺り戻される運命、凍てつく暗い美しさの中の幽玄の瞬きに過ぎ去るグローバルを無くした地球を焦がすメルトダウンで毒された寿司にまだ身震いする核時代/賃金/廃棄への信頼と敬意に絡まり過ぎた
そしてその全てに、あきこは光を提供する
AKIKO SUZUKI : (words of Carl Heyward)
paints through fabric, thread, ANTIQUE kimono fragments, color, organdy, light, passion and dread; fear of life; fear of death; the legacy of imperial and demolished japan the pride and sentiment of the new age that consolidates the old with twists of new seeking identities fragile and ephemeral as a smoke passing through humor and pain; sown uncertainty with a soft bravado bedeviled breath of female arts sanctioned and reclaimed distorted turned thread to gold and gold to shards of enlightenment; sewn sinews of distant shadow memory: japan reduced in fire and returned to economic delusion trick-daddy mickey mouse and Arby’s Roast Beef franchise and Geisha in a Bentley with tired salary man misled and misrepresented a corporation too far, too tangled to trust and homage to the nuclear age/wage/waste that still shudders in meltdown poisoned sushi scorched earth gone global in a yugen moment of frozen dark beauty of doom…and for all that Akiko offers light…
………………………………………….
From: AKIKO……….
いくつかは私の作品約2考えた:
“あなたの骨を食べる”
神秘的な形状は、私がリメイクに求めたときに登場し、失敗キルトをカット。
私は最初は、硬い不確実広場感じ。しかし、それはオーガンジーによって提案された形式に昇華によって心臓の完全面白い形になった、それはそれで、白色骨をちりばめた…ワイヤー真鍮アークは生まれ変わりのようなものです。
無数の黒い線は、私のオリジナルのキルトから毛です。
日本人の気持ちでは、髪はしばしば、奥深く哀愁のいずれかを思い出させる。
“私の皮膚の下愛”
それは、以前の作品の生産に不要になっていることを赤い服を組み合わせる、ミシンワークや絵画によって、身体の鮮度と血を表現。最後に肌の色の違いを表現する
象徴的なレースとして、私は、黒と白のオーガンジーを入れて、機械によってステッチ。
中心付近のエッジと水玉模様で使用された赤い布は”モミ”と呼ばれる着物の女性のパンツです。
それは私たちにとって最も官能的な要素です。
サルトルはそれは”あなたは自分の肉と骨を愛することはできますか”と言った。
私は10代の私の心に何回でその考えを反芻しました。
超え、国、人種の違いを超え、人間の本性の一部に大きな愛を求める、宗教、ライフスタイル…または、最終的に、我々は肉を愛することができ
愛する人の血。そして、あなたは今までにすべて…人の骨と肉を食べたいのに十分な誰かを愛している?
限定質問として…..また、人間の存在の問題である。
鈴木明子:
現代のキルトを作る私の物語
私は子供の頃から絵を描くのが好きだった。
私は最初は画家になりたいと思ったが、実際に絵を作っていた
と立体作品芸術学部を中心にビデオでは実験後、私を魅了している。私は、工業デザインでの仕事を少しやったが、その後、結婚した後、私はしばらくの間、主婦だったと子育てのために時間を費やした。しかし、創造のための私の欲求は持って
私を動機、私は針と糸を使って布で作成する当然始めた。母は刺繍の職人だったと
私の祖母は着物メーカーだった。私はを聞いて育った
私の子供の頃にはさみと針の音。私は、この効果は私にとって非常に重要だと思います。針と糸と布は、私の体と血に深く染み込んでいます。
23年前、私はパッチワークキルト作りをし、勉強し始めた。
私は当時の私の祖母と私の先生(美智子志摩)の影響から初めてアンティーク着物を使って作品を作っていた。しかし、私のデザインは最初から伝統的ではない、それは最初から抽象的だった。
私は井戸の感情を表現することができます主な理由
抽象的な形を通じて、自分自身。
1997年に、私は現代のアメリカのキルト作りの先駆者であるナンシー·クロウのワークショップに参加しました。私は当時のパターンを使用してキルトを作ることを止め、それは私のキルトの生産における大きな転換点だった。
また、私は(ジャーク)のFacebook膝カールヘイワードのプロジェクト内のフラグメンテーションPROJECTに参加
昨年また、これは私は非常に彼の作品と彼の偉大な才能のある友人のそれによってもたらされたという点で大きな転機となりました。通常、私は一緒に小さな部分をグラフトすることによって大規模な作品を作りました。私は再びカットするように再構成することができ繰り返しから生まれて面白い形に魅了さとなり、実現し、減少断片化と、世界中から新しい断片を再び大きくする。
私は、廃棄物の美しさに気づいた。
私は彼からの画像の素敵なフラグメントを受信したことを非常に感謝しています..そしてそれは私の中で成長してきた私は彼と私は移動することができたことを確認応答を感謝
より自由な表現の領域に可能性の新たなステージへ。
現在、私は絵と死にかけて元の服を作る
とマシンによって重く縫う、はんだごて等による燃焼布追加オーガンジーの組み合わせ、より多くの絵画、作業するのである
私は絵画のような複雑な質感を表現しようとするつもりです
多くの層に重ねによって。しかし、これだけではなく、私を探しています
常に画像の新たな何かが、私は一つのスタイルや製造方法のモードに固執しないでください。私は様々な角度から十分に未来に生産を追求していきます。
また、それが生成する私にとって非常に重要であるストーリーです。
私の作品はいつも私の小説です。私は自分の精神的な安定を得ることができないので、
それぞれの時間を変更する私の作品私の気持ちへの突出せず。
最後に、私は感情から、私の表情からの多くの現代的なキルトを作った…
私ももちろん、伝統的なキルトが大好きです。
暖かさは愛に囲まれ、レトロ感、優しい心
人間のために…私はキルトではなく排他的にのみ服作りへの接続で行われ、多くの心を結合することによって作られている感じ。
Ikutsu ka wa watashi no sakuhin yaku 2 kangaeta: ” Anata no hone o taberu” Shinpi-tekina keijō wa, watashi ga rimeiku ni motometa toki ni tōjō shi, shippai kiruto o katto. Watashi wa saisho wa, katai fukakujitsu hiroba kanji. Shikashi, soreha ōganjī ni yotte teian sa reta keishiki ni shōka ni yotte shinzō no kanzen omoshiroi katachi ni natta, sore wa sore de, hakushoku hone o chiribameta… Waiyā shinchū āku wa umarekawari no yōna monodesu. Musū no kuroi sen wa, watashi no orijinaru no kiruto kara kedesu. Nihonjin no kimochide wa, kami wa shibashiba, okufukaku aishū no izureka o omoidasaseru. ” Watashi no hifu no shita-ai” Sore wa, izen no sakuhin no seisan ni fuyō ni natte iru koto o akai fuku o kumiawaseru, mishinwāku ya kaiga ni yotte, karada no sendo to chi o hyōgen. Saigo ni hada no iro no chigai o hyōgen suru Shōchō-tekina rēsu to shite, watashi wa, kuro to shiro no ōganjī o irete, kikai ni yotte sutetchi. Chūshin fukin no ejji to mizutama moyō de shiyō sa reta akai nuno wa” momi” to yoba reru kimono no josei no pantsudesu. Sore wa watashitachi ni totte mottomo kan’nō-tekina yōsodesu. Sarutoru wa sore wa” anata wa jibun no niku to hone o aisuru koto wa dekimasu ka” to itta. Watashi wa 10-dai no watashi no kokoro ni nankai de sono kangae o hansū shimashita. Koe,-koku, jinshu no chigai o koe, ningen no honshō no ichibu ni ōkina ai o motomeru, shūkyō, raifusutairu… Matawa, saishūtekini, wareware wa niku o aisuru koto ga deki Aisuruhito no chi. Soshite, anata wa ima made ni subete… Hito no hone to niku o tabetainoni jūbun’na dareka o aishite iru? Gentei shitsumon to shite….. Mata, ningen no sonzai no mondaidearu. Suzuki akiko: Gendai no kiruto o tsukuru watashi no monogatari Watashi wa kodomo no koro kara ewokaku no ga sukidatta. Watashi wa saisho wa gaka ni naritai to omottaga, jissai ni e o tsukutte ita To rittai sakuhin geijutsu gakubu o chūshin ni bideode wa jikken-go, watashi o miryō shite iru. Watashi wa, kōgyō dezain de no shigoto o sukoshi yattaga, sonogo, kekkon shita nochi, watashi wa shibarakunoaida, shufudatta to kosodate no tame ni jikan o tsuiyashita. Shikashi, sōzō no tame no watashi no yokkyū wa motte Watashi o dōki, watashi wa hari to ito o tsukatte nuno de sakusei suru tōzen hajimeta. Haha wa shishū no shokunindatta to Watashi no sobo wa kimono mēkādatta. Watakushiha o kiite sodatta Watashi no kodomo no koro ni hasami to hari no oto. Watashi wa, kono kōka wa watashi ni totte hijō ni jūyōda to omoimasu. Hari to ito to nuno wa, watashi no karada to chi ni fukaku shimikonde imasu. 23-Nen mae, watashi wa patchiwākukiruto-tsukuri o shi, benkyō shi hajimeta. Watashi wa tōji no watashi no sobo to watashi no sensei (Michiko Shima) no eikyō kara hajimete antīku kimono o tsukatte sakuhin o tsukutte ita. Shikashi, watashi no dezain wa saisho kara dentō-tekide wanai, soreha saisho kara chūshō-tekidatta. Watashi wa ido no kanjō o hyōgen suru koto ga dekimasu omona riyū Chūshōtekina katachi o tsūjite, jibun jishin. 1997-Nen ni, watashi wa gendai no Amerika no kiruto-tsukuri no senku-shadearu nanshī· kurō no wākushoppu ni sanka shimashita. Watashi wa tōji no patān o shiyō shite kiruto o tsukuru koto o tome, sore wa watashi no kiruto no seisan ni okeru ōkina tenkan-tendatta. Mata, watashi wa (jāku) no feisubukku hiza kāruheiwādo no purojekuto-nai no furagumentēshon PROJECT ni sanka Sakunen Mata, kore wa watashi wa hijō ni kare no sakuhin to kare no idaina sainō no aru yūjin no sore ni yotte motarasa reta to iu ten de ōkina tenki to narimashita. Tsūjō, watashi wa issho ni chīsana bubun o gurafuto suru koto ni yotte ōkibona sakuhin o tsukurimashita. Watashi wa futatabi katto suru yō ni sai kōsei suru koto ga deki kurikaeshi kara umarete omoshiroi katachi ni miryō-sa to nari, jitsugen shi, genshō danpen-ka to, sekaijū kara atarashī danpen o futatabi ōkikusuru. Watashi wa, haiki-mono no utsukushi-sa ni kidzuita. Watashi wa kare kara no gazō no sutekina furagumento o jushin shita koto o hijō ni kansha shite imasu.. Soshite sore wa watashi no naka de seichō shite kita watashi wa kare to watashi wa idō suru koto ga dekita koto o kakunin ōtō o kansha Yori jiyūna hyōgen no ryōiki ni kanōsei no aratana sutēji e. Genzai, watashi wa e to shinikakete gen no fuku o tsukuru To mashin ni yotte omoku nuu, handa gote-tō ni yoru nenshō nuno tsuika ōganjī no kumiawase, yori ōku no kaiga, sagyō suru nodearu Watashi wa kaiga no yōna fukuzatsuna shitsukan o hyōgen shiyou to suru tsumoridesu Ōku no sō ni kasane ni yotte. Shikashi, kore dakede wa naku, watashi o sagashiteimasu Tsuneni gazō no aratana nanika ga, watashi wa hitotsu no sutairu ya seizō hōhō no mōdo ni koshū shinaide kudasai. Watashi wa samazamana kakudo kara jūbun ni mirai ni seisan o tsuikyū shite ikimasu. Mata, sore ga seisei suru watashi ni totte hijō ni jūyōdearu sutōrīdesu. Watashi no sakuhin wa itsumo watashi no shōsetsudesu. Watashi wa jibun no seishin-tekina antei o eru koto ga dekinainode, Sorezore no jikan o henkō suru watashi no sakuhin watashi no kimochi e no tosshutsu sezu. Saigo ni, watashi wa kanjō kara, watashi no hyōjō kara no ōku no gendai-tekina kiruto o tsukutta… Watashi mo mochiron, dentō-tekina kiruto ga daisukidesu. Atataka-sa wa ai ni kakoma re, Retoro-kan, yasashī kokoro Ningen no tame ni… Watashi wa kirutode wa naku haita-teki ni nomi fuku-tsukuri e no setsuzoku de okonawa re, ōku no kokoro o ketsugō suru koto ni yotte tsukura rete iru kanji.
Lovely work! Wonderful artist!
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Hassan Sarjdine:
belle composition
¡Hermosos trabajos!!Realizados con mucha sensibilida y la historia de Akiko en su hacer artistico.
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MIRIAM MIDLEY:
Beautiful work! Done with great sensibility and history in the making ; artistic… Akiko.
beautiful work, thanks for sharing it with us.
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Bina Gorova:
Hey! How are you? What about the tapestry of happiness??
Carl Heyward:
to consolidate the two extremes creates an equanimity amounting to joy…and the back story is that her first serious quilt 12 years ago came out of a severe depression which is the impetus of her work as a life-affirming if not life saving gesture…great affirmation: happiness through the darkness…please leave a comment at end of article if you will
Always admire artists that do not necessarily stick to one style or mode of production… always searching/responding… Innovative work!
How powerful and insightful the layering of such diverse elements and colors to explore delicacy and beauty co-existing with strength and horror
Lovely work.
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ANNIE LINDBERG:
“I noticed the beauty of waste.” so beautiful, the tenderness and ephemeral quality, the collaboration of material and artist.
Totally admire the thoroughly organic interplay of a life being lived and the materials encountered. There is no waste, just wasters ….
I feel very connected to Akiko’s expression of her artwork journey.
I feel that art serves as a wonderful therapy which helps uncover
things about ourselves or our emotions we may not be aware of.
I connect to her mixed image of Arby’s with a Geisha in a luxury car
with a man who sold his soul for the mighty dollar- I feel rage and anger over the Fukishima fallout – and the deafening silence, absence of information about it.
I also see the beauty of quilting which started by using torn, damaged or stained remnants of clothes and creating something new, useful and beautiful with it.
A reincarnation.
I understand trying new ways to approach your art, as a challenge to learn more about yourself. I too am a fabric artist, and I am on this very same journey.
Beautiful, thoughtful work and words
🙂
Akiko’s bones enter my bones/touch of fabric/ fingertips touching…in the clouds.
thanks for sharing, fantastic works !!!
very useful lovely article..
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MANUEL MONTILLA:
El arte de Akiko Suzuki remite a una emoción que transcurre dentro de los tiempos de la memoria. Es una presencia de recuerdos que se entroncan con lo cotidiano y, de igual, se introducen en una suerte de carrusel que va trascendiendo lo solamente táctil para descubrirnos nuevas perspectivas de lo conocido y de nosotros mismos. Akiko, nos plantea una estrategia de apropiación y de sensaciones que nos hace entrar en un camino conocido pero nuevo y palpitante, de presencia inquieta y de descubrimientos intensos. El arte de Akiko Suzuki es vital, lleno de memorias e inserto en un mundo que, muchas veces, no quiere mirar sus realidades. En este sentido, nos obliga a ser auténticos frente a la nada, a continuar ante lo incierto. Es un arte para despertar y para sembrar memorias de futuro. (Manuel Montilla, David, Chiriquí, Panamá. 18 de octubre de 2013.)
MANUEL MONTILLA:
Akiko Suzuki art refers to an emotion that takes place within the time of the memory. It is a presence of memories that harmonize with the everyday and peer, entered into a sort of carousel that is transcending touch only to discover new perspectives of the known and ourselves. Akiko, presents us with a strategy of appropriation and of feelings that makes us enter a road name but new and palpitating, presence worries and intense discoveries. The art of Akiko Suzuki is vital, full of memories and insert in a world that often does not want to look at their realities. In this sense, requires us to be authentic with nothing, to continue to the uncertain. It is an art to awaken and to sow memories for the future. (Manuel Montilla, David, Chiriqui, Panama. October 18, 2013.)
More inspiration as I approach my journey with thread and fabric as an expression from within.
Very good post. I am experiencing some of these issues as well..
Thanks. We can see your works and your words. Your words became quilt works. quilt works became your words.