A main concept in her art works is 'mirages' - it can be said as 'fake utopia’, and actually, it has a lot of issues. She is sculpting a dystopian scenery of interior of 'delusional sphere’ (A representation of the mirage, which is defined as an invisible and intangible or unseen element). The sphere includes imperialistic feudal society, and the various hierarchy systems are embodied in the form of quadrangular pyramids. Also, she is an actor of the fake documentaries and reflects diverse social issues in terms of the legacy of imperialism.
Especially from the perspective of Japanese female, she elucidates the problems that are the origins of friction and emotional hatred between neighboring countries starting from her country through the political and geopolitical factors, and projects it into her works. And she highlights and sculpts various 'mirages' which caused by the essence of imperialism was introduced to her country, its heritage is affecting contemporary society, and the accompanying principles of imperialism from global perspective (such as capitalism, anthropocentrism, ethnocentrism), with experimental and interactive attempts.
Keywords: hierarchy system, imperialism, geopolitics, political act, anti-capitalism, minority position
May 01, 2019
London based emerging artist (multi-media) with science and engineering background.
She was born 1990 in Tsukuba City, Ibaraki prefecture, Japan into scientist family, and grew up in Boulder, Colorado state, USA, and in Nara City, Nara prefecture, Japan.
When she was in second year of high school, she engaged science and engineering pathway and proceeded to university based in Kyoto to major in civil engineering.
After the graduation, she participated in research of development of observational instruments with data-analysis and acoustic engineering. (Journal link)
After that, she moved to London, UK, and she enrolled in Royal College of Art to have master degree of architecture and urban design. Now her pathway is shifted to fine art, and activated in sculpture studio to focus on her representative language.
Education / Fine Art
Member of Contemporary art curator magazine /
Artist interview / INTERVIEW: YUIKO AMANO | ITSLIQUID | 2019
The waiting time
December, 2018- (Ongoing project), London
Sculpture (a small box-shape theatre), Photo archive
This work is trying to provoke the distortion of 'equality', and the main theme is around on Capital punishment. She went to the police-office station, court, prison in London, and installed chair, which represent the death penalty. Capital punishment is also can be said as the legacy of Imperialism, and it is currently banned in the EU, but still exist in countries including Japan and some states in the United States. She captured each episode with Polaroid and edited this scenario as slide-show style film, and this series of photographs and film are shown slightly different in each plot.
The film focus on more duration of waiting for death and simulating the execution. In other words, her, a female whose identity has been consumed and exploited in the storyline (the narration of the Man -a dogmatic icon that reflecting the power of Humanism), and waiting for the inevitable destiny of becoming a corpse (metaphorical corpse) in order to exchange the revival of the power, an energy that can be carved and embedded inside the cornerstone of the institution. This is a performance and documentary of the cross-dressing of identity.
27 x 30 x 15 cm
Look at the Reflection - the dream of 'Home'
January, 2019, Hong Kong
C-type prints, Instant film
This work’s theme is 'success', especially about Hong Kong dream. She visited Hong Kong for urban investigation and researched about the city, and interviewed to domestic workers. The domestic workers are currently becoming a severe and rigor social issue in Hong Kong, because of the imbalance of population and housing capacities. She took this series of photographs on Sunday morning in Hong Kong central station. The domestic workers are not be allowed to stay in their working space (home) in every single weekend. There were full of domestic workers in public space where is decorated by the 'extension' of domestic space, and they consumed their time there.
This scenery illustrated the gap, and the dream of 'Home' between the environment and their fantasy. Therefore, it triggers and establishes the landscape and a de facto 'homeland' within this paradoxical conflict. Through this visual impact and the contrast between the values of the visible 'homeland' and half-visible homeland (pixellated by third-person), She thus acted the local people and criticized the passive attitude of outsider towards domestic issue in Hong Kong. In fact, the colour of sky blue reflects on brilliant sky scrappers, and there is actually hidden muddy water under the sewerage covers.
42 x 60 cm
Experience of the alternatives
March, 2019, London
Moving Image, Digital painting
This series of works represents the mirage of 'integration' that may occur in the near future. At the present time, artificial intelligence development is progressing day by day, especially in developed countries. In the future, humans, machines and computers might be integrated. This series of images is 'paintings' drawn on a computer by coding, and the characteristics of the lines are specified by the computer language and formulated for each image. Also, by looking at such images with a human 'lens' (eye), we could regard ourselves as a cyborg which fused with artificial intelligence and eliminate the boundary between future humans and machines (including camera or recorder etc.).
It can also show new reflections in the context of imperialism (with advanced technological systems such as artificial intelligence). For example, with the progress of machine learning technology, 'post'-imperialism (as the simultaneous existence of post-humanism) might be able to built up by 'intelligence' of the new era by the decline of humanistic thinking by the humanity who built imperialism. At that time, can humans continue to be creators, or can they play a role as artists? In this project, She was drawing a simulation from the viewpoint of artificial intelligence, and assuming that a new pyramid (hierarchical ecosystem which has been seen from the macro viewpoint) is created.
16 x 12 cm
System of production
March, 2019, London
Film, Digital Image, Ceramic, C-print
This work delved into the illusion of 'wealth' from a point of view of dystopian scenery and examined the issue of a mass-consuming society and the ironical relationship between the ecosystem, and that surrounds its environment. Selecting the 'ceramic', which is regarded to be a symbol of mass consumption in modern society. She used that symbol as a key and made the documentary of the fate in 'ecosystem cycle'. The image of see through the cutting-glass in her works highlights the unbalance of the scale in the system and the objects that produced there. In addition, She incorporated productive situation in the current world as the backgrounds (a dominant system of production with the heritage of imperialism in specific areas such as the region of Asia and Africa), and tried to look at those landscapes.
As an extension of this piece, She also considered 'the second aggression', which has failed to become a serious social phenomenon in modern period. As the first aggression, the areas that were heavily influenced by the imperialism of Western countries (such as Asia, Latin America, Africa etc.) have been consumed by other Asian countries such as PRC (People’s Republic of China) since the beginning of the 21st century. Creating such situation becomes an afterimage of mass consumption based on the capitalist principle, including developed countries. Moreover, it can be said 'global violence' with a strong economic power. And such problems would eventually cause social unrest, and spread around the world as the form of new invaders.
22 x 22 cm
Installation of un-contextual action
December, 2018, Copenhagen
Digital print, Drawing
This project is slightly different from other projects methodologically, and is based on architectural thinking, by considering the exchange of inner and outer spaces and all surrounding situations. More specifically, the behavior and activity performed only in a building are experimentally investigated as to whether they could get the same effect in different contexts when people have been moved outdoors.
The factors used in this research are the common furniture in Japan, 'Kotatsu', and the activities performed there, in countries with completely different cultural areas and social contexts. However, it might have a similarity of 'acts' (in a country that has a common perception of the act of relaxing indoors during the winter season, in this case, Denmark in winter).
The important point is that when people consider the 'action' from a certain cultural area or social context, there is a possibility that they get the same impression or effect as the original place, even inside or outside of building or in a different situation. On the other hand, it is quite vague to find out this effect, by considering from the perspective of the installed side. If they consider this idea in relation to colonial policy in context of imperialism, they can suggest the danger of un-contextual cross-culture.
40 x 40 cm
Project no 6.
Capitalist City: Interim City Design
February, 2019, UK
Web service, T-shirts
In a capitalist society, there is a strong connection between the formation of cities, the community of people who living there, and all activities of consumption of food, clothing, and dwellings. In this project, She considered the 'contradiction' of city planning and urban fabrication in relation to the 'citizen' of the consumers with feudal top-down thinking which she experienced while engaging architecture and city design.
She actually registered on a drop and shipping website and designed the 'Interim' city plan through the tool of fashion. Then she examined the phenomenon of gaining the fake satisfaction by purchasing goods through the form of sales and pointed out the ironic contradiction that the design with top-down thinking spreads through the grass-roots activities, such as wearing close. Furthermore, this act of sales may be able to say an endless urban-formative documentary.
18 x 15 cm
I know something (of me)
October, 2018- (Ongoing project), London
Acrylic painting, GIF animation
This series of works is a tracking of alienated people (mainly on LGBTQ people) and the recording of fake documentaries of them in the diligent sphere of modern society. The stage of this show took place in the public bathroom, where the place of incongruity for people with gender contradiction, and the place where let them know themselves. She actually played the role of LGBTQ people at the place, and she cut out and decorated the 'uncomfortable' and 'truth' landscapes she saw in the place in canvas and photos. And she output the imagined scenery through a kinetic method at that time.
The argument about gender identity can also be considered in the context of the legacy of imperialism, in terms of lack of legal maintenance, public recognition and acceptance. Hardware acceptance such as public bathroom also said to be essential conditions for the future 'Gender-Free' society. And she examined the relationship between SNS and LGBTQ people. Through the Internet, they are connected and fusion into a cybernetic medium that has become commonplace in modern period.
In this small spacecraft-like box, she (and possibly they), always whisper to the mirror, 'I know something (of me)'.
15 x 20 cm
Project no 8.
April, 2019, London
In modern society, the development of advanced technology is absolutely remarkable. However, it is thought that the problems and deficiencies which associated with its development will become more apparent in the point of view of the post-humanism. In the development of cities, human creates artificial nature and ecosystems within the settlements due to their scientific effects, which can imply the dominance of technology in urban contexts. However, the 'artificial ecosystems' can become 'real' and act in unexpected ways in their settle space.
The aims of project include visual inspection of the relationship between precision with high-technology in static space and intentionally placed blanks. And It comprehensively investigates and summarizes change of closed ecology due to artificial greenery, especially in residential areas. In addition, such a top-down urban and regional planning may be expressed in the context of imperialist heritage. In the future, it may be possible to emerge on a surface of social sphere as 'technological failure'.
The deliberately opened 'holes' in precision technology may eventually turn into 'fictions' that will become serious defects in their society.
50 x 70 cm
Remember, overlooked IDENTITY
April, 2019, London
Acrylic painting, Digital print, Text piece
ADHD (Attention deficit hyperactivity disorder) has become generally known as one of the developmental disabilities, but currently no effective treatment has been found. That certain disorder is said to appear not uncommonly in the daily life. For example, losing belongings frequently. Umbrellas, transportation cards, smart phones, wallets, credit cards ... sometimes it came back but sometimes have never been returned. They can only know in the imagination where the lost things are now.
As an extension of this project, she would like to focus on the people with ASD (Autism Spectrum Disorder) and selective mutism. Where are the unknown people? What are they thinking now? Through texts, she communicated with a person who has a selective mutism. In this case, she is an interventionist and try to highlight the figure from the inside of his contemplation. She can not hear his anthem, but it can be a poem, and sometimes it can be clearly shown to people, and works on them.
40 x 30 cm
May, 2019- (Ongoing project), Kyoto
C-print, neon, LED, robotic sculpture
This series of works is the embodiment of her own language shown in the definition. The vanity neon-lit pyramids reflected in different mirages and tell the legacy of imperialism that She suspects in society. And the sarcastic nature of the prism pyramid that emits the 'fake’ reality as a glittering light while being controlled by a machine and the lights can not leave the enclosed space can be anticipated the very likely to become realistic landscape in the near future.
Also, the Neon pyramid, which allows audience to know 'reality' through the tablet screen, represents the exposure of information on the Internet in modern society. Although it glows beautifully to the human naked eye, it is never forgiven for having secrets when it is viewed through the glasses which laid over the technology of cybernetics.
42 x 60 cm