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2019.09.01 Free onlined featuring INSIDE ARTISTS Winter Issue 16 web/132 / Inside Artists, UK
2019.09.01 オンライン・アーティスト記事 「インサイド・アーティスト秋冬号」 / 作品掲載132-135p / インサイド・アーティスト社、英国
2019.09.01 Art Magazine INSIDE ARTISTS Winter Issue 16 / Inside Artists, UK
2019.09.01 アート誌掲載 「インサイド・アーティスト秋冬号」 / 作品掲載132-135p / インサイド・アーティスト社、英国

Mika Yajima's Frame works at World Art Dubai 2018 were featured, with many thanks to my owners and clients!

2018.05.02 YouTube World Art Dubai 2018 Official Highlights Video  

2018.04.18 Online ARTS&CULTURE "10 artists to look out for at this weekend's World Art Dubai" by Laura Egerton / The National, UAE
2018.04.18 ネットニュース  "10 artists to look out for at this weekend's World Art Dubai" by Laura Egerton / ザ・ナショナル新聞、UAEアラブ首長国連邦
2018.04.19 News Paper "10 artists to look out for at this weekend's World Art Dubai" ARTS&CULTURE by Laura Egerton / The National, UAE
2018.04.19 ザ・ナショナル新聞 アート&カルチャー "10 artists to look out for at this weekend's World Art Dubai" by Laura Egerton / UAEアラブ首長国連邦

2017.12.15 Online Artist Q & A Textural Expression / Aesthetica Magazine, UK
2017.12.15 オンライン・アーティストQ&A Textural Expression / アエステティカ・マガジン社、英国
Posted on 15 December 2017
The original document - Wrote by MIKA YAJIMA on 7 November 2017
The original document English Textural Expressions EN.pdf
 English native checked by Kelan Davis
出稿原稿 日本語 Textural Expressions JP.pdf
Textural Expressions
Aesthetica Magazine the online Q&A

Q1.You recently returned to Tokyo after participating in the Accessible Art Fair in Brussels. How was your trip?
  あなたは最近、ブリュッセルのアクセシブルアートフェアに参加した後、東京に戻ってきました。 旅どうだった?
It is, indeed, 30 years since I last visited Belgium when I was a student.
At the ACCESSIBLE Art Fair, I asked each visitor 'Which one do you like best, please tell me for my marketing research.' Belgian people have
their own view, very simple and stylish, of art & design. I got lots of reactions and responses and could able to know favourite No.1
For Weaving Works, there were generally good responses from the elderly people especially woman who knew 'Kuba's Raffia Textile in Congo'.
It is a tremendous pleasure that artists and staff's mother came to express their compliments.
For Framed Shaggy lugs on Japanese Mulberry Paper, 'I have never seen before' 'How unusual'. It was an honor to meet young owner who
collected my work. She sent me her photos of her displayed flat with my work. I received printed Aesthetica magazine in Brussels and able to
gift her it. Who could imagine that I would come back to Belgium as an artist in 30 years later? It was a very moving event for me.
に好きなのか、時には手厳しくいろんな意見を伺うことが出来、お気に入りNo.1 の作品を知ることが出来ました。

Q2.In moving from folk art to techniques reflective of modern art, was there a challenge in expressing themes or emotions within new forms?
Universe is often likened to weaving, but in a hand woven work that does not depend on digital, it can two-dimensional represented only by the
vertical and horizontal axes. In my 9x9 composition series I challenged to be conscious of the three-dimensional feeling with mixed fibre collage
such as shaggy rug's technique searching for the answer of "Secrets of the 81 squares" of a shogi board's universe.
Gold and silver leaf forms by paper patterns treated with astringent persimmon used in Yuzen kimono's processing, are also recent new attempts
for emotional expressions. I tried to show a view of the world that like the impermanence of our life and the permanence of one's inner soul.
-Floating leaf on Ryusui, The shadows of Foliage, INSIDE -One's inner soul... Ad infinitum.
  宇宙は織物に例えられますがデジタルに依存しない手織物作品では縦軸と横軸の2次元的表現しか出来ません。9x9 コンポジションシリーズ

Q3.What elements are gained and/or lost when transitioning to modern art? What are the advantages and disadvantages of working with the different forms?
  現代美術に移行する際に、どんな要素が得られ、失われていますか? さまざまなフォームで作業することの利点と欠点は何ですか?
1. gained and/or lost when transitioning to modern art
- If I wanted to become a manufacturing craftsman, I must have sit in front of the weaving loom 365 days and continue to weave for keeping its
condition. Or I must have live with the master under the apprentice system and practice. I have been looking at such craftsmen in the era when
I work at the Kimono Company. In the field of commercial artwork, once installed it will be exposed to the atmosphere for a long time and dust
will accumulate, and fibre will need to devise to keep it under harsh environments. Since it is set up inside the company, it is not known to the
general public and is degraded by client maintenance situation and company policy and has a fate to become scrap.
Contemporary art is ambiguous and free of definition, so I can gain the element to remove these problems that I experienced for 30 years and
make a place where I am.
There is something to lose if I do not deepen and continue to produce; it is common in all genres.
 1. どんな要素が得られ、失われていますか?

.2. advantages and disadvantages of working with the different forms
-Regarding commercial artwork, it was inevitable that there was no same form each time because I embodied a design that emerged from bottom
of my heart while walking in consciousness on the drawing under different places and conditions. I know that working with different forms as an
artist has a disadvantage to be suspected of my identity, but the basic techniques are spinning, winding, weaving, twisting - just combining simple
technique with paradoxical materials. I consider the enjoyment that it is enough to know the whole thing when my life is totalized, as an advantage.
2. さまざまなフォームで作業することの利点と欠点

Q4.Much of your work is produced on textiles you have woven yourself. How important to you is this aspect of the process?
  あなたの作品の多くは、あなたが織った織物で作られています。 このプロセスの側面は、あなたにとってどれほど重要ですか?
I use woven textiles as parts or overall that cannot be done with machine, digital, or AI. Plant fibres themselves are weak and easy to cut.
When you gather and bundle up those weak things, spin them into thread, wind them into rope − when you add movement to them,
they transform into stronger things.
Representing the DNA trajectory of plants, essential for human beings from ancient times, by art, not clothing, is an important process
to know my own identity. Just as hemp fibres of thousands of years ago are excavated and proved their existence,
it is possible to travel with time and space as past, present and future.

Q5.Are the themes expressed by your art specific to culture, given the locality of the plants used, or are they in some ways universal?
Human beings have inherited with various ideas and ingenuity by utilizing the technology making full use of plant fibre collection since
ancient times. You know the tracks have been left not only in Japan, but in universal. In one place, the succession has been quitted due to
conflict, and in some place it has been automated by the development of technology. In Japan that extends from the north to the south there
still exist a wide variety of plants due to the difference in climate, so folk art materials also exist diversely as part of kimono culture.
It is the miracle that have been inherited or restored after the World War U by the predecessors' efforts.
Regarding me, my ancestor succeeded a mountain on the 33°N latitude line (suitable for harvesting various plants throughout the year),
so I could able to gather myself a variety of materials without traditional kimono or craft industry association.
  古くから植物繊維の採取技術を駆使して、人間は様々なアイデアや創意工夫を受け継いできました。 日本だけでなく、世界中でその軌跡は

Q6.Where do you find inspiration for your pieces?
1. INSIDE - from my inner soul
2. A paradoxical combination that like matter and antimatter ±0
 -If I had not been for 30 years with my husband-aerospace engineer, and had not ever seen any SF movies or discuss about
the advanced science, I might have become a boring artist or not become an artist.

Q7.What spiritual themes are you expressing through your conceptual artworks?
INSIDE -One's inner soul,
INSIDE -内なる心,
Each conceptual artwork has a common theme and relevant though expression style is different.

Q8.Tell me about your work on kimonos.
I joined Kimono Corporation as a regular employee, and choose to get a job rather than graduate school.
1988-1990, I spent 2 years in charge of merchandising specially selected kimono made by a variety of craftspeople including
'Japanese living national treasures'. When my colleague or boss did not exist, I was able to see and learn all the special works
as product management that could not see in general. This experience had a great effect to me to distinguish techniques deeply.

And spent a further 2 years in the marketing of the sales department in charge of sales promotion for events such as a cultural event
where old imperial and samurai daily clothes and furnishings were exhibited, and Kimono-Fairs involving several thousand consumers.
From this experience, I understood that the basic style of the fair that organizes and participates, artists and buyers, art and kimonos that
have similar price ranges, even if the eras and contents change, trading value-added products and offering encounters with works
remains the same.

2017.12.01 Free onlined featuring Inside Artists, UK
2017.12.01 オンライン・アーティスト記事 「インサイド・アーティスト冬号」 / 作品掲載20-27p / インサイド・アーティスト社、英国
2017.12.01 Art Magazine INSIDE ARTISTS Winter Issue 11 / Inside Artists, UK
2017.12.01 アート誌掲載 「インサイド・アーティスト冬号」 / 作品掲載20-27p / インサイド・アーティスト社、英国

OCTOBER 5-8, 2017
English & 日本語 PDF

I was standing here at Grand-Place once before, as an art university student on a 40-day art tour looking around 14 countries in Europe and Egypt.
I could hardly imagine that I would come back to Brussels again as an artist almost 30 years later.


After World Art Dubai in this April 2017, I started Instagram for the first time to share photos of the event. Yes, I was just a beginner.
Soon Ms. Alina Maria Ologu (Curator of ACAF) gave me a 'like'. I saw her account and the words 'Artist Call for the ACCESSIBLE Art Fair Brussels'.
I saw several TED Talks of CEO & Founder Ms. Stephanie Manasseh - A new way to show art 'Removing the barriers between the buyer and the artist',
'woman supports woman' - The ACCESSIBLE Art Fair's concept was obviously what I was looking for.
At the final deadline, I made an application with careless photos but luckily I was selected as individual solo artist for the first time in an art fair.
"Why Belgium?", my Japanese acquaintances may wonder.
I bought a book 30 years ago in Europe about 'Kuba's Raffia Textile in Congo' and Raffia guided me to natural fiber materials (Congo and Belgium are historically connected)
and the contrast of the gold leaf on the stone building continues to influence my work subconsciously.
What better reason to make me want to show my new works for the first time.
Read more

English & 日本語

2017.10.01 Art Magazine Aesthetica's Artists' Directory October/November issue / Aesthetica Magazine, UK
2017.10.01 アート誌掲載 「アエステティカ 10-11月号」 / 作品掲載153p / アエステティカ・マガジン社、英国
2017.10.01 Online Artist’s Directory / Aesthetica Magazine, UK
2017.10.01 オンライン・アーティスト名鑑 Aesthetica's Artists' Directory / アエステティカ・マガジン社、英国

Selected as a solo artist for
OCTOBER 5-8, 2017
I'm preparing new works using natural fiber materials

2017.04.14 News Paper "Five-senses east-and-west at World Art Dubai 2017 Japan Zone" / Al Bayan Press
2017.04.14 アル・バヤン新聞 「ワールド・アート・ドバイ2017 ジャパンゾーン特集」 / 取材記事掲載

2017.04.14 NET News "World Art Dubai 2017 " / Al roeya Press on Twitter
2017.04.14 ネットニュース 「ワールド・アート・ドバイ2017 」 / 取材動画配信

  [Art Fair/ Exhibition & sales] アートフェア ワールド・アート・ドバイ 2017 出展
I am honored to exhibit my new works at World Art Dubai 2017.
I produced mainly on order artwork for architectural spaces by using original techniques with fiber material.
In recent years, I made a transformation from folk art materials to the modern arts
returning to the original self-cultivated plant fiber material gathered in my birth place that continues from my art college days.
I would be very pleased if you could feel something from my work, Natural Fiber Weaving.

April 12th to 15th 2017 Dubai World Trade Centre
International Convention and Exhibition Centre Sheikh Saeed Hall 3 Stand: F10 - F16
Wednesday 12 April 6pm - 9pm
Thursday-Saturday 13-15 April 2pm - 9pm

2017.03.28 News Letter " JAPAN TIDE Vol.1" / JAPAN PROMOTION
2017.03.28 ニュースレター「ジャパン・タイド 第1号」 / 一般社団法人 ジャパンプロモーション / 作品掲載


 Mika YAJIMA makes contemporary artworks based on her experience of dyeing and
weaving that was in her birthplace, Kochi prefecture, and her experience of working in
the production of artworks for kimono and architectural objects. She uses all kind of materials
from expensive and precious metal such as gold leaf, gold thread, and pearl inlay, to everyday
material such as zenmai (Asian royal fern)fiber, silk cotton, self-cultivated cotton, which is rare
and difficult to cultivate, all in a consistent and manual manner, bold and delicate. A big feature
of her work is the combination of strength and elegance. The gradients produced by different
materials bring unique facial expression and texture to the work.
 In Japan that extends from the north to the south, there still exist a wide variety of plants
due to the difference in climate. By utilizing the technology of plant fiber collection that has
been inherited with various ideas and ingenuity since ancient times, YAJIMA says that she has
the power of natural objects in her work. A group of artworks created with the DNA inherited
from her great-grandmother, who engaged in weaving, combined with her signature modern
design, attracts people from various countries and generations.
 Her works have decorated JAL's domestic and International lounges, ambassadors'
residences, hotels, corporate buildings, etc., The "Echigo-Tsumari Art Triennial 2006" installed
one of her large-sized works. She continues to try new things every day with the aim of
producting artistic expression that stimulates the six senses of the viewer.

It is a great honour and pleasure to exhibit my new works at
-Japanese Art & Culture Week in UAE 2017-
April 6th to 8th 10:00 AM - 07:00 PM Art Hub Gallery Dubai

JAPAN TIDE launching, with a presentation to the media, to the art related people of UAE and the general public.
協力 / Art Hub  企画・運営 / Japan Promotion  後援 / 在ドバイ日本国総領事館


"Cool Japan creators file V "  ISBN978-4-87298-910-6 ARTBOX international Inc. (Works published)
「クールジャパン・クリエイターズファイル V」 / 株式会社ARTBOXインターナショナル / 作品掲載

Painting, illustration, photography, stereoscopic, gadgets, accessories, fashion, installation...114Artists B5判 256P 1.5 x 22.5 x 29.5cm 日本語Japanese

MIKA YAJIMA’s rope work  胎動 Fetal movement
 Imaginez par exemple une plaine desolee, un champ de guerre, au milieu des grabat..
Quand l’homme realise l’existence de cela, que ressent-il, que fait-il?
Imaginez par exemple une plaine desolee, un champ de guerre, au milieu des grabats…Quand l’homme realise l’existence de cela, que ressent-il, que fait-il? 
Among the rubble, on the battlefields, on a desolate plain..When you discover it, What do you feel? .What will you do?

Manila hemp, jute, cotton & polyester rope cord, clay, silver foil, φ50x800p, 28kg

"Galleries Magazine July "DISCOVER THE ONE JAPANESE ART Written by Nicholas Usherwood - Features editor (Prized works published)
月刊「ギャラリー」誌7月号 DISCOVER THE ONE JAPANESE ART ロンドン 特集 by ニコラス・アッシャーウッド / Galleries London / 受賞作品掲載

Mika Yajima got the"Nicholas Prize"in DISCOVER THE ONE JAPANESE ART 2016 London
The announcement of Prize Winners were showed in the Magagin GALLERIES on July.
先に行われたDISCOVER THE ONE JAPANESE ART2016ロンドン展コンペティションでニコラス・アッシャーウッド賞を頂きました。

....My favorite work was one of latter, Mika Yajima's '9x9 Composition Whirlpool', an abstract textile piece
of intricate woven textile and foil, simple, powerful and delicate.
In short this was a festinating scheme and one which I hope will be repeated in London 2017
Wiritten by Nicholas Usherwood - Features editor at Galleries Magagzin

"Contemporary Art Artist File W"  ISBN978-4-87298-899-4 ARTBOX international Inc. (Works published)
「〜 世界に発信する日本の現代美術 〜現代美術アーティストファイルIV」 / 株式会社ARTBOXインターナショナル / 作品掲載


"Dyeing, Weaving, Fiber Arts "  ISBN978-4-87298-853-6 ARTBOX international Inc. (Works published)
「染・織・ファーバーアート 紡がれる世界」 / 株式会社ARTBOXインターナショナル / 作品掲載

2007.05.07 Echigo-Tsumari Art Triennial 2006 ISBN: 978-4773807042 / Echigo Tsumari ART FIELD (Works published)
2007.05.07 大地の芸術祭 越後妻有アートトリエンナーレ2006 /現代企画室 / 作品掲載

December Decoration fo ZAIM & MIKA YAJIMA EXHIBITION  Review by MIYATA Tetsuya / ZAIM Yokohama City ART Network
ZAIMクリスマスデコレーション&MIKA YAJIMA EXHIBITION  宮田 徹也レビュー / (財)横浜市芸術文化振興財団

Zokei Friends News Vol.22 Exhibition report for TOKYO UNIVERSITY OF ART AND DESIGN graduate's association (Exhibition report)
Zokei Friends News Vol.22 2006大地の芸術祭展示報告 / 東京造形大学校友会

The Kochi Shimbun Newspapers (Personal interview)
高知新聞 ”新がんばりゆう記” / 個人インタビュー取材

YOKOHAMA Minatomirai21 Art Guide  (Works published)
横浜みなとみらい21 アートガイド / 作品掲載

Monthly "PINK July" MAGAZINE HOUSE LTD. (Personal interview)
月刊「PINK 7月号」潟}ガジンハウス / 個人インタビュー取材

"FLOWERS" PR GENDAI Co., (Personal interview)
「FLOWERS-25人のスタイリッシュな女性たち」 / 咳R現代 / 個人インタビュー取材


NIHON SENI Newspapers "Encouragement prize '89 Asahi Contemporary Craft Competition" (Personal interview)
日本繊維新聞 ’89 朝日現代クラフト展奨励賞受賞 / インタビュー取材

SENKEN Newspapers "Encouragement prize '89 Asahi Contemporary Craft Competition" (Personal interview)
繊研新聞 ’89 朝日現代クラフト展奨励賞受賞 / インタビュー取材

1989.05.05-06.07 Encouragement Prize '89 Asahi Contemporary Craft Competition (Catalog)
1989.05.05-06.07 '89 朝日現代クラフト展 奨励賞 / 朝日新聞社


Published by MIKA YAJIMA 矢島路絵
All rights reserved since July, 2003