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Kahori Kamiya Transmutes Grief Into Play

Kahori Kamiya Transmutes Grief Into Play

Kahori Kamiya Transmutes Grief Into Play

Two figures greet viewers getting into Lengthy Eclipse at Amos Eno Gallery in Bushwick, the primary New York Metropolis solo present by Nagoya-born and New York-based multidisciplinary artist Kahori Kamiya.

“Blooming Move” is the artist’s imaginative and prescient of Venus. In 2005, Japan’s Fuji Sengen Shrine commissioned Kamiya to craft an idol honoring Konohanasakuya-hime, the cherry blossom goddess of Mt. Fuji. “Blooming Move,” although, is all of the sculptor’s personal. Kamiya’s thumb strokes stay imprinted on clay plumes that rise from her bosom, painted with acrylic and steel leaf and dappled with amethyst. A mortal of clay and polyurethane hovers behind her within the wall-mounted “OMG.”

Lengthy Eclipse presents Kamiya’s first physique of work. The artist earned an MFA in sculpture from Tokyo’s Nihon College of Artwork in 2005, and a second MFA in advantageous arts from the Faculty of Visible Arts in 2009. Her in depth sculpture and efficiency apply informs the genre-bending work throughout Lengthy Eclipse, notably the titular work — a big scene lined with kimono sashes, chosen to signify each the umbilical wire connecting child and mom and Kamiya’s Japanese heritage. 

Throughout the portray, an electrical inexperienced lady tries and fails to kick via the image airplane. Two bulging eyes peer at a gaping void, echoing a photo voltaic eclipse, the place her breast ought to be. Kamiya struggled to provide milk for her second baby simply earlier than the pandemic. Throughout it, she apprehensive about defending her children, and herself, as hate crimes in opposition to Asian and Asian-American folks skyrocketed and discriminatory glances turned playground routines.

Layers of collaged foam, resin, and feathers do breach that airplane, although, encouraging viewers to discover different vantages. By works like these, Kamiya conveys her accrued knowledge and experiences with out the load of their ache. Pure abstractions throughout the way in which, like a freestanding animist sculpture and textured work, floor Lengthy Eclipse additional, rewarding devoted viewers with playful discoveries the place likelihood and foam meet in successive nooks.

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Even with no outlined type, these abstractions are as a lot choices to Mom Earth because the present’s opening work. Every is mounted or framed with pine to counsel the standard gentle wooden of a shrine. Shinto perception says pine timber specifically maintain the spirits of gods and goddesses, who use their branches to enter Earth.

Flashes of gold leaf all through reference kintsugi, the artwork of mending damaged ceramics with gold, making their imperfections lovely. Between these glimmers and depths, Kamiya transmutes grief and angst into playful, highly effective choices.

Kahori Kamiya, “OMG” (2023), clay, acrylic, steel leaf, foam, crystal, 19 x 30 x 15 inches
Kahori Kamiya, foreground: “I’ve been ready for you” (2023), clay, plaster, acrylic, foam, resin, material, steel leaf, amethyst, 60 x 48 x 52 inches; wall: “Bloom / Falling” (2023), acrylic, steel leaf, crystal, foam on paper, 38 x 84 inches
Kahori Kamiya, “Arrival” (2023), oil, foam, steel leaf, crystals on canvas, 60 x 40 inches

Kahori Kamiya: Lengthy Eclipse continues at Amos Eno Gallery (56 Bogart Road, East Williamsburg, Brooklyn) via March 26. The exhibition was organized by the gallery.

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