Kawano Shoko (2016)

KAWANO SHOKO

KAWANO SHOKO was an unlikely winner in 2002. The com-

Art Museum, San Francisco. Winning the 2002 Cotsen Bamboo

petition for the Cotsen Bamboo Prize, a biannual bamboo art

Prize placed Kawano on the international scene.

competition juried by three American judges, was fierce that year.

Back home Kawano’s stature rose as well, and his artworks

The finalists included some of the most talented and decorated

began to be consistently accepted into the prestigious annual

artists in working in the medium — Fujitsuka Shosei, Honda Syoryu,

exhibitions of the Japan Traditional Craft Arts Association. Kawano’s

Kawashima Shigeo and Tanioka Shigeo. To pick only one winner

next major turning point came in 2006 when Japan’s Agency of

would be very difficult. Little known and untitled at the national

Cultural Affairs requested that the Living National Treasure,

level, Kawano was the clear underdog.

Hayakawa Shokosai V, conduct a series of special workshops to

The three newly created works Kawano submitted for consid-

pass down his artmaking philosophy and the secret techniques

eration were beautifully woven in the open twill plaiting style

of the multi-generational Hayakawa family tradition. Kawano was

that would become his signature. Bruce Pepich, director of the

among the seven artists chosen to take Shokosai V’s classes in

Racine Art Museum and one of the three judges, commented that

2006 and 2007.

“this artist’s work embodies the perfect marriage of traditional and

The Japanese bamboo art world is a small one with only

contemporary; craftsmanship and sculpture; the past and the

several dozen professionals and very few young up-and-comers.

future.” An award ceremony was held in Tokyo and at the Asian

Having himself benefitted from Shokosai V’s valuable instruction

Feather Cape, 2015, 7 × 15.5 × 12 inches

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and wishing to nurture the future of his art form, Kawano moved

his signature open twill plaited baskets. Kawano’s lacelike plaiting

to the remote island of Sado in the Sea of Japan to teach at

becomes the vehicle for communicating a whole new vocabulary

a newly established bamboo art school. From 2008 to 2013,

of shape, color, space, motion, and texture — and beyond this,

Kawano and fellow artist Honma Hideaki taught an ambitious

the vision and spirit of the artist.

and thorough three-year curriculum to aspiring artists. Many of their

Kawano sometimes describes himself as a ‘specialist’ in open

former students, such as Ebana Misaki, Honda Seikai, Nakamura

twill plaiting. In any case, he is a virtuoso; and he has explored

Tomoyuki and Watanabe Chiaki, have gone on to become artists

the possibilities of this particular technique to an extent that no

in their own right.

other artist can claim.

“Being native to southern Japan, the long severe winters on

Many of the artist’s vessels seem simple at first glance, but the

Sado Island were depressing. Everywhere I could see was totally

work’s sophistication and complexity reveals itself in the subtle shift

gray and gloomy” says Kawano. After returning to his hometown

from one basic geometric form to another. In Kawano’s work, you

in 2013, Kawano isolated himself in his new studio, not even

will often slowly realize that the seemingly simple contours of a

socializing with friends and peers, but often looking out onto his

basket have, over the course of less than ten inches, transitioned

sunny garden. His ambition was to realize a new visual expression

from a rectangular base into a globe before ending gracefully in

by integrating an unprecedented variety of color and pattern into

an ellipse. Kawano has near-perfect command of the spacing

Sunny Place, 2016, 11 × 13.5 × 13 inches

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between each finely split bamboo strip. He creates the symmetries

The gallery was recently shocked to learn that, despite his

and asymmetries of his final form by narrowing and widening the

talent and accomplishments, Kawano’s exhibition in the summer

open spaces in the weave, using no tools or measurements beyond

of 2016 will be his first solo show, not just in the US but in Japan

his finely honed senses of vision and touch. Kawano’s new use of

as well. Kawano is looking forward to meeting the people who

color accentuates the amazing refinement of his shapes.

journey to Santa Fe to see his show, and hopes that this exhibition

Another characteristic of Kawano’s work is its ability to convey

will open yet another door of his artistic career.

a sense of being both transparent and solid. The work exists on a perceptual knife’s edge. Sometimes Kawano emphasizes surface

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Koichi Okada

texture by adding an exterior layer of parallel bamboo strips to his airy vessels. His use of vertical insertions pays tribute to a longstanding Oita tradition. In the case of Rain Lily (pg 20) and the aptly - named Remembrance (opposite), he adapts this technique to honor his instructor Shokosai V, by incorporating the hand - carved plates of bamboo that the former Living National Treasure was known for.

Remembrance, 2010, 12 × 15 × 15 inches

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Radiance, 2015, 9.5 Ă— 15.5 Ă— 12 inches

Autumn Field, 2015, 9 × 16 × 12.5 inches

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ARTIST STATEMENT It has been almost 30 years since I began working with bamboo. After becoming independent, I challenged myself to become as proficient a craftsman as possible by developing speed and precision.

I did that by making thousands of commercial ikebana baskets over several years. In 1996, I started to participate in public competitions. My focus then changed; I wanted to use this medium to convey my own artistic vision.

I was brought up near the ocean. The nearby seashore was my playground. I was fascinated by the forms and shapes of the sea creatures living there and of the shells and rocks that I collected.

My interest in sculpture grew during my high school years. An image of Michelangelo’s Pietà made a huge impact upon me, and I really wanted to become a sculptor. Over time, I realized that bamboo was my medium. Unlike stone or metal, bamboo has an incredible lightness and pliability that is

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Tranquility, 2015,15 × 15 × 13 inches

unique. I like the duality of this medium’s delicacy and strength.

Each strip of bamboo I cut is very strong yet so fine and flexible.

When the strips are interlaced using open twill plaiting, I can shape the basket into rounded forms using only the natural tension of the bamboo. With the help of urushi, a tree sap lacquer applied as a finish, my baskets appear both transparent and solid at the same time.

I try to express my creativity mostly within the vessel form. Every time I work in my studio, however, I think sculpturally. My consciousness moves from lines to planes, from planes to three dimensional forms, and from three dimensional forms to space. Bamboo is most beautiful standing in a grove that is being swayed by the wind. I cut the bamboo down, split and shave the culms, manipulate the cut strips as I have planned, and hope to create something worthy of its natural beauty. What can I add to something that is already beautiful? Were all my efforts in vain? I ask myself these questions all the time. I can express myself through this medium and continue asking the same questions, as long as someone tells me that they see beauty in my work. n

Kawano Shoko, 2016

Far Off, 2012,13 × 8.5 × 8.5 inches

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Rhythm of Spring, 2013, 10.5 × 16.5 × 14 inches

Undulation, 2010, 9.5 × 22.5 × 14.5 inches

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Ripples, 2015 9.5 × 13.5 × 14.5 inches Right: Black Bamboo Tortoiseshell Offering Tray, 2014 5.25 × 27.5 × 21 inches

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Encircle, 2011, 6.5 × 16 × 16 inches

Evening Cicada ( Autumn), 2011, 7 × 15.5 × 15.5 inches

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Renewal, 2003, 5.5 × 11 × 11.25 inches

Glow of a Firefly, 2012, 7.25 × 16 × 16 inches

Rain Lily, 2010 8.5 × 13 × 13 inches

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Sun, 2011 9.5 × 12.25 × 12.25 inches

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Silent Illumination, 2013, 7 Ă— 12 Ă— 13 inches

KAWANO SHOKO was born in Oita City, Japan in 1957.

He studied art at Midorigaoka High School. After graduation, he applied to the Tokyo University of Arts, the most prestigious and competitive art school in Japan. Driven to become a sculptor, Kawano stood for the entrance exam several times but was unable to gain admission.

After Kawano returned to Oita, a friend introduced him to local artist Morigami Jin, who had recently made waves with his modern and sculptural interpretations of the bamboo flower basket. Intrigued and excited, Kawano entered the Oita Prefectural Bamboo Craft Training and Support Center in 1989. After graduating, he studied under Morigami and was later mentored by Watanabe Chikusei II, a respected master of ajiro (twill) plaiting.

By 1996, Kawano was showing his works at regional and national exhibitions and taking orders from local wholesalers. In 2002, he won the Cotsen Bamboo Prize. His works are in the permanent collections of the Asian Art Museum in San Francisco and the Mint Museum of Craft + Design in Charlotte, NC, as well as many prominent private collections.

Bottle Gourd, 2010, 11.5 Ă— 9 Ă— 9 inches

1601 Paseo de Peralta Santa Fe, New Mexico 87501 505.984.1387 taimodern.com

Thought, 2008, 12 × 8 × 6 inches Indian Summer, 2009, 15 × 10.5 × 9.5 inches Open Twill Plaited Flower Basket, 2008 11.5 × 10 × 5 inches