The Gallery of Contemporary Textile Artists
Kyoko Nitta
Japan
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Artist's Statement
I started making works under the theme of the pocket and space when I came to think there are doors to another dimension in the pockets. The expression made with hollow tubes and linked components is an embodiment of what I imagined another dimensional space inside pockets was like.
My works have a common attitude in a way that they positively keep traces of how they use to be related to the world. This is not only in terms of their theme, but also about their materials and techniques.
I value chances to be exposed to wisdom which humans have passed down from generation to generation in forms of techniques and materials. And, I've learned a lot from them.
I learned the fishing net knitting technique from a local fisherman while travelling around southern Laos in 1999. After coming back to Japan, I produced a series of works with fine hemp yarns, making use of the newly learned technique.
I came to know English cotton organdie in 2004 when I was given a chance to work together with Maxine Bristow in the UK. I used the material to copy the jeans which I had borrowed from a dozen of people. This is a series about ghost jeans, where several copied pairs are connected to each other through extended pockets. I also produced works focusing on the relation between pockets and kimono which is Japan's traditional costume.
Since about 2009, my interest has shifted to expressing with hollow tubes how space stretches. One of those made along this track is 'Vascular tube Ⅱ'（2009), where tablet weaving technique is used to connect hollow tubes. The same technique is also seen in the foundation of '19 pockets'（2009). -
Artist's Statement
I started making works under the theme of the pocket and space when I came to think there are doors to another dimension in the pockets. The expression made with hollow tubes and linked components is an embodiment of what I imagined another dimensional space inside pockets was like.
My works have a common attitude in a way that they positively keep traces of how they use to be related to the world. This is not only in terms of their theme, but also about their materials and techniques.
I value chances to be exposed to wisdom which humans have passed down from generation to generation in forms of techniques and materials. And, I've learned a lot from them.
I learned the fishing net knitting technique from a local fisherman while travelling around southern Laos in 1999. After coming back to Japan, I produced a series of works with fine hemp yarns, making use of the newly learned technique.
I came to know English cotton organdie in 2004 when I was given a chance to work together with Maxine Bristow in the UK. I used the material to copy the jeans which I had borrowed from a dozen of people. This is a series about ghost jeans, where several copied pairs are connected to each other through extended pockets. I also produced works focusing on the relation between pockets and kimono which is Japan's traditional costume.
Since about 2009, my interest has shifted to expressing with hollow tubes how space stretches. One of those made along this track is 'Vascular tube Ⅱ'（2009), where tablet weaving technique is used to connect hollow tubes. The same technique is also seen in the foundation of '19 pockets'（2009). -
Artist's Statement
I started making works under the theme of the pocket and space when I came to think there are doors to another dimension in the pockets. The expression made with hollow tubes and linked components is an embodiment of what I imagined another dimensional space inside pockets was like.
My works have a common attitude in a way that they positively keep traces of how they use to be related to the world. This is not only in terms of their theme, but also about their materials and techniques.
I value chances to be exposed to wisdom which humans have passed down from generation to generation in forms of techniques and materials. And, I've learned a lot from them.
I learned the fishing net knitting technique from a local fisherman while travelling around southern Laos in 1999. After coming back to Japan, I produced a series of works with fine hemp yarns, making use of the newly learned technique.
I came to know English cotton organdie in 2004 when I was given a chance to work together with Maxine Bristow in the UK. I used the material to copy the jeans which I had borrowed from a dozen of people. This is a series about ghost jeans, where several copied pairs are connected to each other through extended pockets. I also produced works focusing on the relation between pockets and kimono which is Japan's traditional costume.
Since about 2009, my interest has shifted to expressing with hollow tubes how space stretches. One of those made along this track is 'Vascular tube Ⅱ'（2009), where tablet weaving technique is used to connect hollow tubes. The same technique is also seen in the foundation of '19 pockets'（2009). -
Artist's Statement
I started making works under the theme of the pocket and space when I came to think there are doors to another dimension in the pockets. The expression made with hollow tubes and linked components is an embodiment of what I imagined another dimensional space inside pockets was like.
My works have a common attitude in a way that they positively keep traces of how they use to be related to the world. This is not only in terms of their theme, but also about their materials and techniques.
I value chances to be exposed to wisdom which humans have passed down from generation to generation in forms of techniques and materials. And, I've learned a lot from them.
I learned the fishing net knitting technique from a local fisherman while travelling around southern Laos in 1999. After coming back to Japan, I produced a series of works with fine hemp yarns, making use of the newly learned technique.
I came to know English cotton organdie in 2004 when I was given a chance to work together with Maxine Bristow in the UK. I used the material to copy the jeans which I had borrowed from a dozen of people. This is a series about ghost jeans, where several copied pairs are connected to each other through extended pockets. I also produced works focusing on the relation between pockets and kimono which is Japan's traditional costume.
Since about 2009, my interest has shifted to expressing with hollow tubes how space stretches. One of those made along this track is 'Vascular tube Ⅱ'（2009), where tablet weaving technique is used to connect hollow tubes. The same technique is also seen in the foundation of '19 pockets'（2009). -
Artist's Statement
I started making works under the theme of the pocket and space when I came to think there are doors to another dimension in the pockets. The expression made with hollow tubes and linked components is an embodiment of what I imagined another dimensional space inside pockets was like.
My works have a common attitude in a way that they positively keep traces of how they use to be related to the world. This is not only in terms of their theme, but also about their materials and techniques.
I value chances to be exposed to wisdom which humans have passed down from generation to generation in forms of techniques and materials. And, I've learned a lot from them.
I learned the fishing net knitting technique from a local fisherman while travelling around southern Laos in 1999. After coming back to Japan, I produced a series of works with fine hemp yarns, making use of the newly learned technique.
I came to know English cotton organdie in 2004 when I was given a chance to work together with Maxine Bristow in the UK. I used the material to copy the jeans which I had borrowed from a dozen of people. This is a series about ghost jeans, where several copied pairs are connected to each other through extended pockets. I also produced works focusing on the relation between pockets and kimono which is Japan's traditional costume.
Since about 2009, my interest has shifted to expressing with hollow tubes how space stretches. One of those made along this track is 'Vascular tube Ⅱ'（2009), where tablet weaving technique is used to connect hollow tubes. The same technique is also seen in the foundation of '19 pockets'（2009). -
Artist's Statement
I started making works under the theme of the pocket and space when I came to think there are doors to another dimension in the pockets. The expression made with hollow tubes and linked components is an embodiment of what I imagined another dimensional space inside pockets was like.
My works have a common attitude in a way that they positively keep traces of how they use to be related to the world. This is not only in terms of their theme, but also about their materials and techniques.
I value chances to be exposed to wisdom which humans have passed down from generation to generation in forms of techniques and materials. And, I've learned a lot from them.
I learned the fishing net knitting technique from a local fisherman while travelling around southern Laos in 1999. After coming back to Japan, I produced a series of works with fine hemp yarns, making use of the newly learned technique.
I came to know English cotton organdie in 2004 when I was given a chance to work together with Maxine Bristow in the UK. I used the material to copy the jeans which I had borrowed from a dozen of people. This is a series about ghost jeans, where several copied pairs are connected to each other through extended pockets. I also produced works focusing on the relation between pockets and kimono which is Japan's traditional costume.
Since about 2009, my interest has shifted to expressing with hollow tubes how space stretches. One of those made along this track is 'Vascular tube Ⅱ'（2009), where tablet weaving technique is used to connect hollow tubes. The same technique is also seen in the foundation of '19 pockets'（2009).
Contact Details:
g-g@fiberart-jp.com
