Art projects / portfolio
About Artist
About Artist
About Artist
January 03, 2023
January 03, 2023
January 03, 2023
Award name. Click here to edit me.
Award name. Click here to edit me.
Award name. Click here to edit me.
Graduating Art and Design student at school of Architecture MA city design (1st year) of Royal College of Art with Engineering back ground.
Graduating Art and Design student at school of Architecture MA city design (1st year) of Royal College of Art with Engineering back ground.
Graduating Art and Design student at school of Architecture MA city design (1st year) of Royal College of Art with Engineering back ground.
Project no21.
HAPTIC CRISIS Project
February, 2021- (Ongoing project), London
Web service, Digital communication, Software application, Communicational performance, Recipe
The project was launched in February 2021 in London, which was during lockdown, and is still in progress. We are considering future food and eating out culture. Is it possible for us to eat together, even if we are apart?
As the development of software applications, SNS and matching applications have become widespread, and as web communication services such as Zoom have become more diverse, so have new encounters and relationships with close people become technology-dependent. In such a situation, I would like to explore a new way of conducting a restaurant service.
If you would like to dine with strangers, please book a seat from the restaurant's website. We invite you to a new matching event.
I object/ Freud Museum London/2021/ London, UK
This project was showcased/archived at Freud Museum London (2021)/Contemporary Art Curator Magazine (2021)
Project no22.
Alternative Connection - I have become a cat.
May, 2021, London
Animation, Physical book, Digital book
The definition of “cyborg” is related to consciousness and unconsciousness. When our brain is incorporated into the Internet web, it is possible that “other consciousness” will replace the “ego” that originally existed. Furthermore, even in the scientific field where machine learning is rapidly developing, the time may come when AI will interfere with the human brain. If we are optimistic, we may be able to support minorities, such as those with developmental disabilities. However, it is possible that there will be a deep conflict between the “usable” and “unusable” groups of the new service. To put it in an extreme way, it is a “war between machines and humans.” Each step is very important for the development of science, but due to its narrow field of view and orderly order, scientists and science do not consider creating minorities as a result and creating a devastated future landscape. I express warnings and criticisms to the world here.
Synopsis
'An international student from Japan, "I", stays at Ms. Sax's house as he begins university. There are many cats gathering around Ms. Sax's house but, among them, "Liu's cat” is strangely attached to "I". Once “I” starts to wonder about this, the WiFi signal in his room shuts off. "I" then asks Ms. Sax to quickly fix it, but her husband tells him to use a different signal while she repairs it. "I" connects to a different WiFi using his computer and activates it as instructed but, the next morning, "I" becomes a cat. While he is becoming a "cat", "Liu's cat" does not appear. This mysterious phenomenon does not always occur, only after a certain period of time and then it occurs very suddenly. As "I" goes to Soho with university classmates, flatmates and friends he met at pubs while on holiday, he notices a secret room at the back of a bookstore in London.'
MOON ART FAIR HAMBURG/ 29th -31st, October, 2021/ Hamburg, Germany
Liu's cat/Drawing
WOMAN’S ESSENCE SHOW, WAA Woman Art Award 2022 / Galerie 24B, Paris, France
“We Are Reversal” /MUSA PAVILION at 59th La Biennale di Venezia 2022 /Palazzo Pisani-Revedin, Venice, Italy
This project was showcased/archived at the Graduation show 2021of The Royal College of Art/Proxy at Cromwell Place/MOON ART FAIR HAMBURG (2021)/Animal Worlds of Art - Tierwelten der Kunst (2022)/Woman Art Award 2022 at Galerie 24B Paris (2022)/MUSA PAVILION during The 59th Venice Biennale (2022)/Rossocinabro Gallery (2024)
Project no23.
Globe on Ice
August, 2020, Fukui, Japan
Workshop experience, Glass, Solid sand, gold leaf
This work is her first glass piece and was made at a glass factory in Kanazu Sosaku no Mori, Fukui city, Japan.
Her appreciation for glass art deepened during her initial visit to the Venetian island of Murano in 2018, where she explored the Glass Museum. This experience sparked her fascination with Murano Venetian glasses, leading her to start collecting them. The vibrant colors, delicate hues, and vine-like lines of gold leaf in these pieces resonated with her artistic sensibilities.
Upon returning to Japan in 2020, she furthered her connection with glass art by visiting a glass workshop in Fukui Prefecture. Here, she took the opportunity to try her hand at crafting glass pieces herself.
Collection of Murano Glass by Yuiko Amano
Glass workshop/Work in progress
237mmx237mmx125mm
This project was showcased/archived at the Graduation show 2021of The Royal College of Art/'FOCUS Art Fair London 2021 Art Show' hosted by HongLee at Saatchi Gallery (2021)
Project no24.
Artist Workshop and practice in Nature - finding the key in Ambleside
August, 2021, July, Lake District, UK
Arts-based summer camp experience, Workshop experience
This project was sponsored by a London artist collective, and she participated in a six-day workshop to create her work. The project site was an art campsite in Ambleside in the Lake District of England.
The first thing she experienced was the nature of the Lake District leading to the campsite. She started by walking around a beautiful, quiet lake, then over a slightly steep mountain road to an open rural area where the art campsite was located. She got a little lost before reaching the campsite, so she asked local residents for directions and interacted with them. She had been living in London, so interacting with the residents of Ambleside was a somewhat new experience.
She arrived at the workshop site and was briefed on the campsite by members of the collective. Shower and toilet locations, woodworking workshops, theatre spaces, meeting spaces, larger tent venues, caravans and more. She hadn’t brought a tent, so she ended up sleeping in the caravan. The structure of the campsite was similar to ‘Moriyama-House’ in the architecture industry, and was a collection of ‘spaces’ with functions necessary for daily use in life. And the most interesting thing about it was that it was all in nature, in the forest.
The number of participating artists varied depending on the schedule, but on average there were about 20 people participating each day. There were a variety of people working in the woodworking workshop; some building fires, and others having discussions in the meeting space. She participated in an outdoor activity workshop. They rested by the lake, swam, walked a little in the mountains, and explored a cave. She had lived in places rich in nature in America and Japan, so it was not her first time to be in nature, but perhaps because the climate and topography were different, it was her first time seeing ‘Britain’. She was very impressed by the nature.
It was a very exciting night at the campsite. A fire was lit and an artist meeting was being held in the light of the campfire. The weather in Ambleside seemed to be changeable, and there were times when it rained heavily. One memorable experience for her was the tree climbing task that was part of the art workshop held by the workshop organiser. She attached something like a wedge to her leg and used a rope to climb up. It was difficult at first, but once she got used to it, she was able to climb high up in the tree without any difficulty. These kinds of communal living and activities in nature were quite similar to what she had experienced in Japan when she had been working in the field of science, and she described it as an experience that she wanted to express. She decided to keep it in her heart as a memory of another experience. She returned to the caravan at night. Inside the caravan, which looked like it had been abandoned in nature, there was a wonderful living space, almost like a guesthouse. There were about 10 people sleeping in the caravan, and it looked like a small girls’ dormitory.
Her experience in this nature workshop made her reconsider her relationship with nature, and it was a time-traveling experience that evoked memories of her upbringing in the mountains of Colorado and her research in the wilds of Japan. It looked like a key. Therefore, these works are like shards of a mirror that transfer her memories and experiences.
The 'Merz Barn Summer School' workshop was conducted in July 2021 by artists Lydia Brockless and Millie Laing-Tate.
Project no25.
The king’s view from top of the hill in a magical kingdom - ‘Motif-less’ Tearooms
July, 2021, Edinburgh/Glasgow, UK
Field trip report, Semi-digital Painting
The project is a site-based case study from her visits to Edinburgh and Glasgow in 2021.
First, she heads to Edinburgh on the night express train Caledonian Sleeper from London's Euston Station. Her report has already begun from the moment she boards this train. The sight of a stag icon painted on the dark viridian body of the car is already enough information to prepare for a journey from London to another dimension.
She arrives at Edinburgh station in the morning and starts walking towards the city. Then she lets out a cry of surprise. The scene is exactly the setting of a fantasy novel where magic rules, and it is the very world view that had such a deep influence on her when she was young. She is very impressed and takes a walk around the city. On her way, she stops at a scarf shop and comes across various tartan designs.
Afterwards, she visits a whiskey museum. At the museum, she takes a class on the history of Scotch whisky and also attends a tasting session. It is said that the whiskey made in Japan was originally based on the manufacturing method of Scotch whisky, so she has long been interested in Scotch whisky.
Towards the end of her journey, she climbs a hill overlooking the city of Edinburgh. As she looks at the setting sun and the cityscape, which have grown brighter and brighter, she can almost hear the magical spells and the breathing of mysterious creatures that she had seen in her childhood.
After leaving Edinburgh, she heads to Glasgow, the capital of Scotland. Although she is somewhat surprised by the modern climate with its many modern buildings compared to Edinburgh, she quickly embraces the city, which has many famous universities and a large student town. Before visiting the city, she decides to research an architect named Charles Rennie Mackintosh. The Glasgow style he founded later influenced the Viennese Secession, which she admired before coming to London. He also designed buildings such as the famous Willow Tearooms. After that, he stopped working as an architect and began working as an artist in France and other countries. This career shift is one of her motivations for researching this architect. She also drew inspiration from his interior design concepts, mainly for restaurants.
Her work from this long journey explores fictional tales of magic and kings, patterned styles for texture, and mural illustrations and interior design reminiscent of the Art Nouveau period, all of which are expressed through her interpretation.
15cm x15cm
Project no26.
The legacy of imperialism, light and shadow - Is the paintbrush ineffective or effective in the sea of victors?
September, 2021, Belfast, Northern Ireland
Field study trip, Art-based report, Image generation
In this research, She attempted to create a report based on fieldwork and an art workshop in Belfast, Northern Ireland.
First, she went to Titanic Belfast to research Belfast’s shipbuilding industry and its past glory. Belfast is known for being the city where the famous Titanic was built, and in the early 1900s was home to one of the world’s leading shipyards. It is a self-evident fact that at that time, trade was still in fashion around the world and the existence of large ships was the key to victory. As a result, it seems to be closely tied to a history of invasion and colonization, as well as slavery and exploitation. Based on these facts, she thought about the glory that Belfast has achieved from an impartial perspective, and the existence of the shadow created by that light.
In the second field study, she conducted a ‘walking workshop’, where artists walked from one end of the Peace Wall to the other in order to investigate the long-standing conflict between Ireland and Northern Ireland. The entire wall is covered with graffiti and political statements expressing the wish for peace. At first glance, it looks like the artistic atmosphere of London’s Shoreditch area, but behind these ‘pieces’ are ‘assertion’. She could see that they had a strong will, not just for the sake of it. This issue, one of the most serious religious wars in the world, was not erupting as a dangerous moment while she was visiting, but it is still an issue with no end in sight, and there is a possibility that it will flare up again.
The inspiration she gained from these field training surveys and workshops led her to think about what happiness means to people, what glory means, and what influence graffiti has while she is creating her works.
15cm x 15cm
Project no27.
Speechless stars - Back to Human
October, 2021-(Ongoing), London
Life storytelling, Performance
In October 2021, she moved her artist studio from Kensington to the north side of Canary Wharf. This move meant that her artistic base shifted from West to East London.
From the Middle Ages to the present day, the London Docklands has served as a docking area, with functions such as loading and storing cargo, but since 1970 it has become the second largest financial centre after the City of London, and the city project to revitalize the area was carried out. This project is often cited as an example of so-called gentrification policy action in the context of urban development. She especially liked the DLR (Docklands Light Railway) that runs through this area.
The waterside, a remnant of the dock, was also the perfect place for her to think about her art research and thought. Her range of activities also centred on East London, from Canary Wharf to Greenwich, Brick Lane, and Shoreditch. In particular, the O2 in North Greenwich, visible from her studio, became a part of her life view as an artist.
Back to Human - Welcome to Open Studio in Shoreditch. January 2023/ 4 Garden Walk, Shoreditch London
This project was showcased/archived at Back to Human - Welcome to Open Studio in Shoreditch. Solo show 2023, Shoreditch, London
Project no28.
Why are we attracted to the ‘Venetian wave’? A blueprint for inducing ‘movement’
July, 2022, Venice, Italy
Narrative experience, Digital storytelling
During her visit to Venice in 2018, she visited the architecture pavilion sector of the Venice Biennale, perhaps because she was enrolled in the architecture department. Among them, the one that made the most impression on her was the British pavilion. The British pavilion was curated as a ‘Freespace’, but she thought that the ‘floor plan’ of the building itself is a work of art, and that viewers could wander inside and be perplexed by the white space with nothing on display. When she saw the ‘Plan’, she saw it as an extraordinary piece of curation that made her realize that she was already ‘inside the work’. She was also impressed by the fact that the white walls and space are similar to the white cube, which is a popular style of contemporary art. Then she climbed onto the roof of the piece, which was 'under construction'. In other words, she experienced once again the concept of space that she had learnt about in London.
On this visit, it was also the beautiful Venetian sea that captured her. The ripples on the shore were calmer than any other ocean she had seen, and it looked like a sentence expressing something.
On her 2021 visit, she returned to Venice as she was scheduled to exhibit at the Venice Biennale’s satellite pavilion. This time, she needed to go to an area of Venice with old buildings, rather than a large exhibition area like the Arsenale. In visiting the pavilion, she got lost in a huge Venetian maze. It was a gigantic labyrinth of stone intertwined with waterways, bridges, and passageways, and it resembled a world straight out of the fantasy novels she had read in her childhood. At this time, she was presenting a short study and supporting novel about brain science and cyborgs as her graduation project at the University of the Arts, and perhaps because of that inspiration, she created this gigantic labyrinth that played a role similar to neurons in the brain. The idea that she and other people wandering through these corridors were just ‘information’ suddenly popped into her head.
This work is a discussion of the beautiful ‘waves’ that colour Venice – the ‘space’ of architecture that she understood by moving through the building’s floor plan, and the idea of space and circuits likening the labyrinth of Venice to a neuron circuit. The theme is ‘movement’ that allows people to go anywhere. And it is this movement within the large planned blueprint, and the ‘design that causes movement’ that constitutes the entire work.
Project no29.
‘I am always in a good mood.’ Magic of mood manipulation through jewellery wearing
August, 2022 (Ongoing project), London
Jewellery design/Chef experience/Market experience reports/Public Art
London is a cosmopolitan city with a wide variety of cultures, languages and races, and while it has some attractive and positive aspects, it is a place where you can also come across some upsetting events. For example, when you catch a double-decker bus, take the subway, or stand in a queue to buy coffee at Costa...you encounter many different types of people, historical and ignorant prejudices, and problems with individual perceptions. Although there are many possible causes, she believes that the most important one is the ‘mood’ that the individual is feeling. It is a matter of personal feelings, so some people may think that it is not absolutely true, but how many people actually feel ‘bad’ in their lives and long to feel ‘good’? The purpose arose of wanting to ‘test’ what was going on.
Meanwhile, she developed a personal art practice in London restaurants, particularly in the kitchen sections, in collaboration with chefs. She noticed that the importance of mood is especially prominent in a chef’s work in the kitchen. And that mood is not something given to us by someone else, but something we create ourselves.
From this concept, she launched a jewellery brand called ‘I am always in a good mood’ and started selling her pieces experimentally with the help of a jewellery shop in Brick Lane. She has since moved her sales base to Camden Market and the project is still in progress.
This method of making absolute decisions and declarations about one’s own mood without being influenced by others, and using items such as jewellery or fashion as triggers, is in a sense a part of fashion. It also represents the historical value of the item. There is also a sense of the magic that comes with that item.
Meals Pieces Collection by Chefs
The project commenced in 2019 when she established a booth at the 'Christmas FETE' Market hosted at the Royal College of Art. She enlisted artists and designers she was acquainted with, selling their ceramic and jewelry creations on their behalf. Her approach to showcasing these works involved crafting a 'Gallery' within the booth using architectural model materials, resembling a fine art curation. Some of the displayed pieces were successfully sold. Additionally, she ventured into creating and selling masks as fashion items, coincidentally just a few months before the outbreak of the coronavirus.
Christmas Fete 2019/Stall by Yuiko Amano/December 10, 2019/The Royal College of Art
This project was showcased/archived at Urbiana Bricklane/Camden Market Buck Street
Project no30.
Beneath the glass inverted pyramid - the aristocrats of the South and the residents of the North
October, 2022, Paris, France
Art-based documentary, Photographic record
This research study was conducted by accident in October 2021, when she participated in an international art fair held at the Carrousel du Louvre in Paris. She boarded the Eurostar from London and arrived at Gare du Nord. She then got into a taxi and headed to the Louvre for the art fair. After loading her work at the venue, she was overwhelmed by the large-scale commercial art fair and began to question the existence of decorative artworks, as well as the demand for luxury as a ‘function’ of artworks. It was also an event that made her realize something once again. Additionally, the venue was located beneath the pyramid at the Louvre, so she often had to take a break under the pyramid. The fundamental concept of her art practice is ‘classified society as a pyramid’, and this pyramid of the Louvre (although it looks like an inverted pyramid when at the venue) has an even deeper influence on her art practice and concept.
After loading at the Louvre, she headed back to Gare du Nord. She was scheduled to stay that night at a hotel in the north of Paris. She also thought about hopping in a taxi in front of the station, but this time the four drivers refused her, saying, ‘It’s better to walk because it’s closer.’ She wondered because she had no problems when going to the Louvre, so she had no choice but to start walking, a journey that would take an hour. But...she had just started walking north from the station when she noticed something was wrong. As she walked north, she saw strange figures among the concrete pavement. People walking barefoot, people who looked like they were on drugs, people wearing tattered clothes. It was a completely different landscape from the beautiful glass pyramids, gorgeous people, beautiful works of art, and the Seine River reflected in the dazzling sunlight that she had seen just a few minutes ago. Was this a drug village? Unable to escape from this concrete jungle, she returned to Gare du Nord in shock and returned to London the same day.
From these two shocking and widely disparate experiences, she came up with an art project. For her, the more attractive sights that she saw in Paris were the residents of the north rather than the aristocrats of the south. This is because she thought that what would look best under the inverted triangle of glass would be a ‘barefoot resident’ rather than a perfectly constructed interior design piece of art. The problem is how to get the glass pyramid over their heads, and it will still take time to solve that problem. The fact is, these barefoot residents looked more precious and more beautiful than any other interior works.
