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             "Weaving with the Land" and
  "Textile printed ​with patterns of shoe soles"
「大地を織る」 "物ではない日用品"によるテキスタイル 



I use daily necessities in my work as I think that everyday items give us a sense of the way of life and aesthetics of the country, so I was looking for them here.


      However, when I went to the salt lake, a turning point came. I asked a local woman, "is this salt shared between humans and animals?", and she said "not all, but yes". I realized that I have only been focused on the customs of people here, but not the animals. In Tokyo, people and animals don’t live together apart from pets, but here, people and animals live together everyday. A local healer Carlos also said that

"we don’t need ‘things’ in our daily life."


      When I went to the desert first time, I got lost on the way back.

At that moment, I noticed someone’s footprints on the road.

I looked at the sole of my shoe and knew it was mine, and then I was able to safely retrace my steps and return to my place. Until now, I had never known the pattern on the soles of my shoes, and this was the first time that I felt at ease when I saw the prints of my shoes. At the same time, I realized that the trace of cars, animals, and people were evidence of daily life here.

      The 'daily necessities' of this place were these traces, intense sunlight and shadow, and the spirit rooted in the land, not physical objects.

      Therefore, I wanted to create textiles from a new perspective using daily necessities that are not physical objects.












"Weaving with the Land" is made of shadows and stones. When I went to the desert, I was struck by the many pebbles and long shadows. Textiles are made up of warp and weft threads, and this time I used the shadows of legs as the warp threads, and the arranged pebbles as the weft threads to represent the textile with loom made by the land and humans.


The other is a prototype, a piece of textile with patterns printed of shoe soles.

The work was inspired by hand-printed cloth using Indian wooden blocks. This time, I wanted to make molds of cars, bicycles, and people’s soles of their shoes on a clay base, and mix them together to create new patterns. For the mold, I decided to take advantage of the cracks that formed during drying. I felt that a shape that was not created by my will was more appropriate as a pattern that gels naturally with the land.

Chilean red wine was substituted for the dye, and Chaniar berries collected from the garden were used to fix the color.


At the exhibition, viewers were actually able to walk freely on the sand where the ceramic blocks of shoe soles were buried and appreciate my work. They were unconsciously creating new patterns with each other.










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