Inside looking out by Lesley Kehoe Galleries

INSIDE LOOKING OUT LESLEY KEHOE GALLERIES

INSIDE LOOKING OUT

LESLEY KEHOE GALLERIES

井の中の蛙大海を知らず

SHUMEI KOBAYASHI AUGUST 3 – SEPTEMBER 2

I no naka no kawazu taikai o shirazu The frog in the well cannot conceive of the ocean

KOJI HATAKEYAMA

NOVEMBER 2 – DECEMBER 23

TUESDAY ~ FRIDAY 11AM – 5PM GROUND FLOOR 101 COLLINS ST OTHER TIMES BY APPOINTMENT

LESLEY J KEHOE BA MA FRAS

MAIO MOTOKO

INSIDE LOOKING OUT

SEPTEMBER 14 – OCTOBER 21

The ‘Inside Looking Out’ series of exhibitions selects three artists whose birth place is Japan, who identify as Japanese, whose art genres and techniques are strongly linked to tradition, who see themselves as protectors and propagators of those traditions, and who by virtue of these alone might be labelled as culturally specific ‘insiders,’ yet from within have developed resonating international perspectives. Are Japanese artists defined by their national and cultural identity or are they international artists who happen to be born Japanese? Consideration of this question revolves around both internal and external perceptions as well as subjective and objective identifications, around definitions of’ insider’ and ‘outsider’. ‘Inside Looking Out’ mirrors our 2014 series ‘Outside Looking In’. In the latter, we looked at three Japanese ‘outsider’ artists who ‘have given up residence in Japan to seek more creative and less restrictive environments outside’. We spoke of Japan’s ‘hierarchical classification system, (of) the art world where rigidly bureaucratic traditional organizations control not only the selection of works for exhibition and complementary awards and prizes, but also the characteristics of works to be submitted. ‘Inside Looking Out’ takes the opposite view and looks at three contemporary artists who have defied the system from within and successfully cultivated a broad international perspective and audience. With mastery and respect for traditional practice and techniques, they have moulded these to their individual creative spirits and in so doing address the universal in the global world of contemporary art.

Shumei Kobayashi is a practising Buddhist Shugendō shaman and master of Japan’s traditional dyeing arts tsutugaki and yūzen. Taught by a Living National Treasure artist who was an associate of the famous Yanagi Sōetsu, Shumei has taken the art into the realm of the contemporary. His designs speak to a profound understanding of the essence of things and thereby find common ground with modern design and abstraction. Koji Hatakeyama uses the ancient art of bronze casting to transform the ubiquitous ‘contained vessel’, the box, into a form for the expression of duality - the outer and the inner. He creates free-flowing abstract landscapes on rigid forms and invites the viewer to discover an inner world of radiant spirituality, ’there is a sense of enlightenment when opening the lid, my intention is to enter a different world’. His works are widely represented in major international museums. Maio Motoko is a radical, a free spirit who assiduously sought an appropriate medium for unfettered self-expression: That medium is the folding screen, a form intimately connected with ambivalence – the fine art of Japanese tradition, yet at the same time a functional piece of furniture and a decorative object. Unaffected by the opprobrium of Japan’s conservative art ‘frogs’ and their limited perspectives, Maio‘s materials are as radical as her reinvention of the form. What was traditionally a canvas for classic, rule-bound painting, is transformed into an emotionally powerful and seductive call to selfdiscovery. Acquired recently for the collection of the Metropolitan Museum of Art New York, Maio Motoko has conceived the ocean.

The three artists selected for Inside Looking Out are singularly different in genre, approach and concept.

小林秀明

b. 1950 Osaka Japan

SHUMEI KOBAYASHI

03 AUG 2016 – 02 SEPT 2016 THREADS OF SIGNIFICANCE

Put the resist paste in the tube; feel it squeeze through my hands as I transfer the design from concept to reality; cover the woven cloth with nori resist and using a variety of specially selected brushes, start to add the colours. My imagination flows with the dyes. Next, borrow the elemental powers of water, fire, air and time to settle the colours; use nori again to cover the design, and brush in the background; fix the background colour once again through the grace of fire and water, air and time; with a final rinsing, there are the lines of my design, the clarity of the background...and the manifestation of my creative soul...so then, today, tomorrow, what fabric, what design? SHUMEI KOBAYASHI

Whatever The Playboy Wrote, It Was As Good As The Great Waves

2014

161 x 254 cm

Whatever The Playboy Wrote, It Was As Good As The Great Waves

2014

161 x 254 cm

畠山耕治

b. 1956 Takaoka Japan

KOJI HATAKEYAMA

14 SEPT 2016 – 21 OCT 2016 THE RADIANT VOID

â&#x20AC;&#x153;I create contained vessels, I try to convey the sense that something is concealed or hidden within. I try to provoke a sense of the spiritual world in my bronze boxes. The patterns and facets I create on the outside are a direct response to the landscape, real or imagined. I find that using gold or silver leaf within the interiors, there is a sense of enlightenment when opening the lid, my intention is to enter a different world, a different place. This place has no darkness. My consciousness is veiled in bronze.â&#x20AC;? KOJI HATAKEYAMA

麻殖生素子

b. 1948 Tokyo Japan

MAIO MOTOKO

02 NOV 2016 – 23 DEC 2016 EXTRAORDINARY PERSPECTIVES

“In Japan, the ideas of ‘hare’ and ‘ke’, the extraordinary and the mundane, were deeply embedded. Life was lived in a rhythm of separating the special and the ordinary. The folding screen, which is not ‘always’ there, is manifest in the fleeting moment of the extraordinary. We are in a reality of irreplaceable sensations and experience. For me, a screen is something which exists both in the moment and in the infinite.” MAIO MOTOKO

Kyoku IV Lifeâ&#x20AC;&#x2122;s Symphony 13 Fold Screen 183 x 518 cm

INSIDE LOOKING OUT LESLEY J KEHOE BA MA FRAS

CURATORIAL & BIOGRAPHIES

THREADS OF SIGNIFICANCE SHUMEI KOBAYASHI TSUTSUGAKI AND YŪZEN

“Nature uses only the longest threads to weave her patterns, so that each small piece of her fabric reveals the organization of the entire tapestry.” Richard Feynman (1918-1988) Theoretical Physicist

That Nature should be the connecting thread between a practising Buddhist Shugendō shaman, ‘moonlighting’ as a tsutsugaki artist, and a theoretical physicist is not at all strange. Buddhist Shumei Kobayashi speaks of primitive religions such as Japan’s mountain-centered animism and laments their fading relevance in today’s fast-paced world. He shares his earliest recollections, as a ‘young lamb’ in the midst of six old practitioners of the Shugendō sect, of the unrelenting day and night ritualistic training required in pursuit of an understanding of the universe - the very same goal as theoretical physics - different threads of the same tapestry. In 2011 the threads and pathways of life’s patterns brought contemporary textile artist Shumei Kobayashi to Lesley Kehoe Galleries for his first solo exhibition with our gallery. The title of that exhibition, ‘Weaving the Future’ was portentous, as Shumei is now a regular and successful exhibitor with the Galleries.

The interweaving threads that are characteristic of Shumei’s foundation canvases are metaphors for the serendipitous life threads that see the artist creating significant networks in Australia. From his first government-sponsored exhibition at the Japan Foundation in Sydney in 1996, these networks, many introduced and nurtured by Lesley Kehoe Galleries and its clients, have successfully created a dynamic that sees Shumei now as the recipient of a special artist’s visa for permanent residency in Australia. He is keen to preserve and revivify the tradition of tsutsugaki through teaching it to young people in Australia. He sees opportunities in Australia’s progressive fashion industry for the creation of unique fabrics. Currently establishing a studio in the environs of the renowned Curly Flat vineyard, the artist is developing natural pigments from native materials, a shibui coffee hue on silk from Curly Flat’s pinot vines and an evolving grey/brown from eucalyptus. A new art name has been created for these Australian works – cloud white: (shiroi kumo 白雲). This reflects the initials of his name Shumei Kobayashi, as well as paying tribute to the inspiring skyscapes of the Lancefield area. The artist’s life-long practice as a Shugendō Buddhist shaman and its respect for, and communion

with, nature and the spiritual world informs all his work. His original and contemporary interpretations of these elements speak both to the ageless universal and to the current zeitgeist. Our role as a gallery is that of a connoisseur gathering threads and creating tapestries for others to enjoy, a creative activity beautifully expressed by John Bartlett (1820-1905), ‘I have gathered a posy of other men’s flowers and nothing but the thread that binds them is mine own.’ Shumei Kobayashi apprenticed with Living National Treasure, painter turned textile artist, Motohiko Katano (1889-1975), and under this master’s influence embraced the idea of original thought and individual creativity as opposed to the studio system and division of labour of Japanese tradition. Shumei, one of the very few remaining artists of this venerable technique, is master of the entire process from concept to final artwork, although remnants of the tradition remain in the artist-specified commissioning of the base canvas of hemp, linen and fine silk from specialists in Kyoto. With no stencil, tsutsugaki is a resist-based painting and dyeing art. Master of silk, cotton and hemp dyeing, Shumei’s power as an artist is strongest in his contemporary interpretations of the traditional and the natural. His bold designs, often abstracted

visions, sit as dynamic contrasts to the sensual texture of their background fabric – newly woven linen, fine silk or thick chunky strands of hemp. This exhibition presents the themes of waterfalls and rope - natural threads, sacred threads, and mundane threads. What follows are the artist’s words about this body of work: WATERFALL 瀧・滝 The idea of water, waterfalls, as sacred is one that arises from the understanding of water as a manifestation of Nature - the larger its scale, the greater our feeling of otherworldly grandeur. From ancient times, humans have acknowledged water’s scarcity and significance. It is both revered and feared - floods for example: water bursting forth as a manifestation of the unapproachable divine. On occasion, waterfalls have even been deified. These works express 40 years of my personal experiences and feelings toward grand waterfalls, particularly the Nachi falls (in Wakayama province, one of the bestknown falls in Japan).

ROPE 縄・綱・ザイル (ROPE, CORD, CLIMBING ROPE)

For towing, pulling and support, ‘tsuna’ is good; for binding and tying ‘nawa’ is good. For use in weaving, we have ‘ito’ and ‘himo’. ‘Nawa’ and ‘rope’ signify something fairly thick. In the past, the plant ‘tsuru’ and long thin grasses of various kinds were used, also ‘wara’ and raw silk thread. In the 18th century, metal was intertwined to create ‘wire rope’; in more modern times, hemp, Chinese palm, cotton were used, and in the 20th century nylon and other chemical and carbon fibres came into practice. Through use, rope changes state and outward expression... it is like we sentient beings - as we go through the trials and experiences of life, some of us are hurt, while others, licking their wounds, march on, persevering in step with their destiny... I was projecting these thoughts onto rope’s expressions as I worked on these pieces.

SHUMEI KOBAYASHI b. 1950 SELECTED BIOGRAPHY 1950 Born in Osaka, Japan 1970 Mentors Motohiko Katano (LNT) Tatsuaki Kuroda (LNT), Uzan Kimura (LNT) Shin Kajiyama 1971 Receives award at Ist Hokuriku Dyeing Design Competition 1973 Selected at All Japan Textile Design Competition 1974 Graduates from Craft Department Kanazawa University of Arts & Crafts Receives Encouragement Award at All Japan Textile Competition 1978 Receives three awards at All Japan Textile Competition, wins the greatest number of awards 1979 Tsutsugaki Noren Exhibition at Blackfriars Gallery Sydney Lecturer at Nakanoshima Arts College, Osaka 1982 Several exhibitions in Australia between 1982-1986 1986 Receives award at Asian Textile Design Competition 1989 Creates five large Noren tapestries for Mauna Lani Bay Hotel, Hawaii, for Tokyu Railways 1991 Selected as one of 100 Dyers Japan, presented by Kyoto Prefecture in cooperation with the Japan Kimono Association and the Kyoto Textile Chamber of Commerce Exhibition at Kyoto Cultural Heian Museum Kyoto 1992 Recording of NHK Television Broadcast The Revival of Umezome, the Roots of Kaga Yuzen 1996 Exhibition Tsutsugaki Yuzen Dyeing by Shumei Kobayashi at the Japan Foundation, Sydney 1999 Exhibition Tsutsugaki Yuzen Dyeing by Shumei Kobayashi at Craft Victoria   Lecture at the University of Melbourne Creates large Noren tapestries and framed works for Tetsuya’s and Azuma restaurants 2000 Lecture and demonstration at Fukagawa Edo Museum Tokyo 2001 Lecture History of Dye at the Kanazawa Institute for the Renovation of Cultural Properties Involved in the revival of Umezome 2002 Exhibition Tsutsugaki Art Exhibition by Shumei Kobayashi at Tetsuya’s restaurant Sydney 2004 Recording of NHK Television Broadcast Oto no aru Fukei 2005 Lecture and demonstration College of Fine Arts University of New South Wales   Exhibition by Shumei Kobayashi at the Japan Foundation Sydney 2007 Tsutsugaki Exhibition Shumei Kobayashi at Silk Love Gallery Tokyo 2010 Commission Tetsuya Waku Ghin restaurant Singapore Marina Bay Sands Solo show Yamaki Gallery Osaka 2011 Australian Academy of Design Melbourne Master class Solo Exhibition Weaving The Future Lesley Kehoe Galleries Melbourne 2014 Asia Week New York The Transcendent Spirit Lesley Kehoe Galleries Solo Exhibition Eyes Half Closed Lesley Kehoe Galleries Melbourne

THE RADIANT VOID KOJI HATAKEYAMA BRONZE CASTING

Koji Hatakeyama, born 1956, hails from Takaoka city, present day Toyama prefecture, historically part of the Kaga feudal domain of the renowned Maeda daimyo. Significant patrons of the arts, the Maeda established Kaga as the centre of longstanding traditions in bronze casting, ceramic (Kutani) and lacquer (kaga makie). Maeda Toshinaga (1562-1614) named the city of Takaoka in 1609 and in 1611 commanded seven bronze casters (imoji) to the city, thereby establishing an art and craft industry which has continued for over 400 years, currently supplying some ninety percent of Japan’s casting works, religious and secular. The Meiji Period (1868-1912) and the Great Expositions of Europe saw Japanese metalwork, with its alluring alloys, rare surface patinas and exotic inlay techniques, wildly lauded by a voracious and happily startled audience. Koji Hatakeyama has eschewed the traditional Japanese studio system, assumed the role of the individual contemporary artist and positioned himself firmly on the international stage. He adopts and adapts elements of the tradition as it suits his individual philosophy and practice, ‘My consciousness is veiled in bronze’. Techniques and materials are traditional. He creates organically profound abstract landscapes on bronze surfaces with miso paste and vinegar, and uses gold and silver foil selectively in interior spaces. His forms are redolent of tradition and appear functional, yet transcend this and are experiential. He straddles the supposed disparate worlds of the traditional and the contemporary, the functional and the autonomous, creating both unique contemporary artworks and works for use in the formal practice of tea.

The body of artworks exists in a separate dimension from the tea vessels and differentiation is a conscious decision. Hatakeyama’s works are held in a significant number of international museums including the V&A London, the Philadelphia Museum of Art, the National Museum of Modern Art Tokyo, Museo de Arte Moderno, Argentina, the 21st Century Museum of Contemporary Art Kanazawa, Japan and the National Gallery of Victoria, Australia. He is exhibited regularly in Europe, the UK and the USA and has received several prestigious art awards in Japan.

kōbako); allusively encoded inkstone boxes (suzuribako) for the brushing of love poems and the tallying of merchants’ accounts; subtly decorated containers for tea powder used in the formal practice of tea (chaire, natsume) to name but a few. And then there is the venerable tomobako, the still current, and part of Hatakeyama’s practice, simply elegant, unadorned wooden box bearing the signature and seal of the artist, the imprimatur of a tea master or acknowledged aficionado, and perhaps the record of decades, centuries of illustrious provenance.

The ‘contained vessel’ is Koji Hatakeyama’s choice as the physical expression of his creativity. He speaks of the ‘illustrious and unambiguous’ tradition of the box in Japanese cultural history – and seeks a legacy therein. This unambiguous tradition is inextricably linked to the often demeaned aesthetic philosophy of the beauty of function, ‘yō no bi’ (用の美), an integral part of Japanese art and cultural history. Boxes of grand and humble design, of grand and humble purpose, of grand and humble shape, size and material, permeated the daily lives of the Japanese and continue to do so. The elegant pursuits of the aristocracy and the quotidian activities of the other classes of traditional Japanese society took place in the context of boxes: Exotically shaped and richly decorated boxes for the incense game (kōgō,

Context and class expressed themselves further in the designations of each box for domestic and formal use: omote and ura: Literally, ‘outside’ and ‘inside’, these can be applied in the first instance to the obvious outer and inner parts of a box, Hatakeyama’s ‘contained vessel’. In the etiquette and practice of using boxes, there were those designated for domestic use (ura) and those, more elaborate and symbols of status and power, set aside for conspicuous display and the entertainment of guests (omote). ‘Outer’ and ‘Inner’ represent duality, metaphors for the superficial and the profound; the easily perceived veneer and the deeply embedded core. This implied duality is expressed variously in Hatakeyama’s works: the physical outside and inside (omote and ura); traditional techniques and modern

interpretation; function and a-function; solid and flowing; form and abstraction; filled and unfilled space (yohaku); matter and void. It is in the discovery of the ‘inner’ that Hatakeyama’s work is experiential. A lidded vessel is seductively inviting: Its hidden interior tempts with intriguing possibilities - what is inside? is something inside? It is an invitation to the intimacy of personal discovery and curiosity must be sated. The inner spaces of Hatakayama’s vessels are made radiant with the use of gold and silver foil, ‘This place has no darkness.’ The term ‘radiant’ is selected to describe the void of Hatakeyama’s inner spaces in both literal and spiritual senses: Literal in that his use of gold and silver foil radiates light from confined interior spaces; spiritual in that ‘radiance’ suggests an otherworldliness, an ethereal light and depth, the enlightenment of the void. The duality of ‘outside’ and ‘inside’ brings to mind Daoist ideas of the empty vessel, something encompassing nothing is its raison d’etre. Is emptiness ‘nothing’? Is nothing ‘something’? There are various concepts in Japanese aesthetics that might be considered relevant here: ma 間 mu 無and yohaku 余白. Used with reference to art, architecture, philosophy and other genres, each in some way refers to ideas of space, of the void, of transcendence. Inherent are both duality

and non-duality, or the merging of dualities - is the void the merging or union of all things, where matter disappears? Is the void ‘contained’ in something like Lao Tsu’s ‘empty vessel’, Hatakeyama’s ‘contained vessel’? Yohaku, for example, literally ‘remaining white’, is often referred to in English translation as ‘negative space’, that absence of decoration found in the asymmetrical placement of much in Japanese art, and observable in Hatakeyama’s landscapes. ‘Negative’ suggests ‘minus’, something missing. There is an alternative interpretation that encourages a fuller understanding, an understanding that the missing is actually present – this is the idea of yohaku as ‘margin’: A margin for interpretation, for individual response an interaction and imaginative experience that is gifted by the artist. An invitation to experience, to discover, has been extended by the artist. Is not then the box, the lidded vessel, a perfect embodiment of ‘yohaku’, the perfect invitation to discover, to experience the fleeting moment of sensory delight in that discovery?

KOJI HATAKEYAMA b.1956

SELECTED SOLO EXHIBITIONS 1990 Maronie Gallery Kyoto 1991 Matsuya Gallery Tokyo (’89) 1998 Galerie Pousse Tokyo Living Design Center Ozone, Tokyo 1999 Gallery Naufu Gifu 2000 Miharudo Gallery Tokyo & Gallery Plannet Nagoya 2003 Gallery Sano Shizuoka 2004 Seikado Gallery Kyoto 2005 Takashimaya Tokyo Kyoto Osaka Nanohana Odawara (’01) 2006 Gallery Kai Tokyo Kogen Nagoya (’03,’01) Arai Atelier Gallery Tokyo (’03,’01) 2007 Gallery Totaku Nagoya, Gallery Now Toyama (’04,’02,’00,’95,’91) 2008 Takashimaya Gallery X Tokyo Kandori Tokyo (’06,’04,’02) 2009 Kochukyo Tokyo Gallery Nishikawa Kyoto (’07,’05,’03,’01,’99) 2012 Galerie Petit Bois Osaka (’09,’04,’01) Gallery Kochukyo Tokyo(’07) 2013 Exhibition Space Tokyo (’02,’10) Gallery Shibunkaku Kyoto (’11) Ippodo Gallery Tokyo 2014 The Scottish Gallery Edinburgh UK (’09, ’11) Aso Bijutsu Tokyo 2015 Erskine Hall & Co London UK 2016 Lesley Kehoe Galleries Melbourne Australia PUBLIC COLLECTIONS Victoria & Albert Museum London UK Birmingham Museums and Art Gallery Birmingham UK Philadelphia Museum of Art Philadelphia USA National Museums Scotland Edinburgh UK Aberdeen Art Gallery and Museum Aberdeen UK The Ashmolean Museum Oxford UK National Gallery of Victoria Melbourne Australia Museo de Arte Moderno Bouenos Aires Argentina Denmark Royal Family Copenhagen Denmark National Museum of Modern Art Tokyo Japan 21st Century Museum of Contemporary Art Kanazawa Japan The Japan Foundation Tokyo Japan Takaoka City Museum Toyama Japan Musee Tomo Tokyo Japan Rakusuite Museum Toyama Japan MOA Museum Atami Japan Shiseido Art House Kakegawa Japan

EXTRAORDINARY PERSPECTIVES MAIO MOTOKO CONTEMPORARY JAPANESE SCREENS

A great contemporary artist must satisfy several criteria: Acknowledgment of tradition, cultural and artistic, yet transcending it; mastery of technique and creative use thereof; articulated philosophy; and the ‘x’ factor, the artist’s unique spiritual expression which inspires the inexpressible ‘wow’ that announces the presence of greatness. Maio Motoko, contemporary screen artist, satisfies these criteria. Maio remains true to the traditional function of the folding screen in manipulating physical space. Her reinterpretation – double hinges, differentially sized folds and reverse sided decoration – enables a flexibility of form and transformation of physical space that both embraces and transcends the intention of the traditional screen. Mastery of technique is obvious. She brings to the canvas of the folding screen mundane materials – aluminium foil, crushed stone, sand, dirt, iron rust - that provide a freedom of colour and texture unimaginable in traditional work. Maio’s artistic concept embodies the contradictions and harmonies of Yin and Yang and their manifestation in human experience. She is unafraid to explore the negative, the dark, the decay and transience of life, juxtaposing it with the

positive, light and fecund. With a powerful, visceral and seductive aesthetic appeal is a concurrent psychic impact reflecting the universality of human experience. As sculptural objects her works stand in a variety of formations, giving no hint to alternative manifestations. The unique thirteen fold screen compacts to a mysterious trapezoid standing alone as a sculptural object, totally concealing its potential as a massive canvas. As functional art, Maio’s works give unprecedented flexibility to the transformation of space and to the creative instincts of the end user: “These screens, a crystallization of my own experiences, in the hands of the ‘other’ transform into something entirely new”. Maio’s unique contribution lies in the interplay of form and concept – Yin and Yang counterpoints allow the manipulation of emotional and psychic space, as the material form allows the manipulation of physical space. Maio Motoko has recreated the traditional Japanese folding screen giving it new life in a contemporary international context. She has moved beyond boundaries of time, space, form and culture. She will undoubtedly be recognized as one of the great artists of the 21st century.

MAIO MOTOKO b. 1948 SELECTED BIOGRAPHY 1948 1970 1980 1986 1992 1995 1999 2000 2003 2004 2008 2009 2010 2011 2012 2013 2014

Born Tokyo Graduated Rikkyo (St Paul’s) University Commenced Study of Scroll Mounting With Kashu Yabuta Commenced Study of Screen Making With Kobayashi Kenji Solo Exhibition Nihonbashi Tokyu Two Man Show with Kobayashi Kenji Matsuya Ginza also 1997 Group Exhibition Nagai Gallery Tokyo Two Man Show With Wada Makoto “Mother Goose” Nagai Gallery Tokyo Three Man Show Geneva With Koie Ryoji And Kado Isaburo Mugen Lesley Kehoe Galleries Melbourne Three Man Show With Hakko Ishitobi And Kobayashi Koji Geneva International Asian Art Fair New York Lesley Kehoe Galleries International Art And Design Fair New York Lesley Kehoe Galleries Japan! Culture + Hyperculture Festival Kennedy Center Washington DC Lecture Sackler Gallery Smithsonian Institute 09 Expo Kiyomizu Temple Kyoto Touch Fire Smith College Museum of Art North Hampton MA Modern Twist The Crow Collection of Asian Art Dallas Texas USA KanHikari Art Expo Nijo Castle Kyoto Fleeting Moments Solo Exhibition Lesley Kehoe Galleries Melbourne Australia KanHikari Art Expo Sennyuji Temple, Kyoto Craft Spoken Here Philadelphia Musuem of Art USA KanHikari Art Expo Kamakura & Kyoto Deconstructing Tradition : Contemporary Japan Lesley Kehoe Galleries, Asia Week New York NY Brush Writing in the Arts of Japan The Metropolitan Museum of Art New York USA Sydney Contemporary Lesley Kehoe Galleries, Sydney Australia Byobu : The Grandeur of Japanese Screens, Yale University Art Galler New Haven USA

PUBLIC COLLECTIONS Metropolitan Musuem of Art New York Philadelphia Museum of Art Philadelphia Chan Palay Collection New York Fuji Xerox Karuizawa Japan German Embassy Tokyo Peggy and Richard Danziger Collection New York Shiozuki Yaeko Eldest daughter of 14th Iemoto Tantansai, Urasenke Smith College Museum of Art, Northampton Massachusetts Yale University Art Gallery New Haven Connecticut 37

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