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Off the Walls : passage through the language of tapestries

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岡山県立大学デザイン学部紀要 vol.8 No.I

Work Review

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-Kumiko Namba Tapestry: 1.A heavy clothwoven withrich,often In the“ untitled”がeceshown on page 1, I havefocusedon

varicolored designs orscenes usuallyhung on wallsfor expressingthe en巴rgiesof coloralone.In thisweaving,I’ve

decoration and sometimesused to cover furniture. encouraged theaudienc巴, theviewer,toactually experience

2.Something resembling a tapestry, as incomplexity. thefullsenseofcolor,ratherthantom巴rely observe it

Tapestrytechnique:・ Thecolorsandshapesofthe pattern are through th巴formsand patterns.To fulfill my intention, the indicatedin a plan

or prelimin訂ydesign, ofthe tap巴stry work was laid out on the floor, ormorespecifically,th巴

calledth巴cartoon. (AmericanHeritag巴 Dictionary) weaving was laid on anacrylicsheet,whichwas placedon I have beenalways aware ofthe walls indesigningmy

weavings. Wallswere theessentialandpreliminary element as the background tomy work. I called my weavings"wall

hangings” when I was working intheUnitedStateswhere

the word ”tapestry” strongly maintainstheEuropean

heritage,as defined above.When I moved to Japan I started

to describemy weavingsas”ikat tapestries"ev巴nthough, strictlyspeaking‘I do not usethetapestrytechniqueinmy weaving. Itseems thatpeople inJapan whose connectionto tapestry is notquit巴 as tangibleaspeoples’ in Western

culture,have chosen to callmy works

tapestries

and I

also have come toacceptthis ambiguous stance between

thewall and my work.

Besid巴s giving my weaving a new classification,tlus Joos巴ning of definitions has resulted ina shift ofmy attention. By referringtomy work m“tapestry”rather than

“wall hanging"my impressionofthe wallbecame less distinじL As this slight distancebetween my weavingand the wallstart巴dtogrow, reflections ofthe audi巴nc巴 began

toemerge more clearlywithinthe settingwhere thewalls 巴mbracethework.

Inth巴白巴ld oftapestry, I understandvisualapp巴al and

recognitionisrathermore critical thanit isfor・“ wall

hangings" by comparison. Placing a tapestry against the wallaccornmodat巴sthe audience bypresenting withintheir field of vision a broader awareness of thetapestryas its colors, imag巴sand texturesentertheey巴.Inthis setting,the wallbecomesthebackdropand provides an opportunity for visualcommunicationbetweenth巴 work,as object, and the audienceas viewer withinthis sharedcontext. Here I find an essentiallanguage oftapestry.

*

NAMBA Kumiko 工芸工業デザイン学科

wooden supports 10cm high tocr巴atea visualeffectof floatingonth巴 floor.At the riskofconfusing my audienceI

hav巴 invitedthem tolook atmy work inanothersetting and

tore-examine the meaning oftap巴stryin a different way.

Nonetheless, the displayofmy weaving on the floorwas

acceptedasaneffectivebackdrop much more naturally by

otherswithouta lot ofcontroversy.And soI cam巴 to realiz巴 thatitwas more my own mind thatwas bound by th巴

narrow and rigid definitionof what a textil巴 is.

Throughmy work the audienceatth巴 otherendof our

communication hasbecome mor巴 clearlypositionedin my designprocess than everbefore.I secthisnew perspective as the welcome resultof working among the leading fiber artistsat theOkayama PrefecturalUniversity. Itis here that I haveallowedmyselfto assimilate theirfresh expressionsandsharedsensibilities;todiscovermore flexible forms, while keepingmy allegianceto textile traditions and the techniques ofikatweaving in which I have beenengagedthroughtheyears. The worldoft巴xtiles has beenchanging fluidly and continuously, ashas thefundamental nature of textiles. Sincethe1970’s, the emergence of fiber-art hascreated strong winds across thetextil巴 scene. Ithas notonly

巴stablisheda new fieldofits own bybridgingfin巴 artand

textiles, but has alsotriggered them司examination of

establishedt巴xtiles includingtap巴stry and ikatweaving.I

seehereexciting possibilities emerging fromwithinthe

realm oftraditional I巴xtiles.

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