2sf Bound Corners, Shoko Fukuda, ramie, monofilament, plastic, silicone, 5.5" x 4.75" x 5.5", 2021, $1,320
1sf Loop with Corners, Shoko Fukuda, coiled ramie, monofilament, plastic, 12" x 11.5" x 5", 2021
Amateras Foundation, Sofia, Bulgaria.
Kyoto Municipal Museum Of Art, Kyoto, Japan; The Ueno Royal Museum, Tokyo, Japan; Museum of Arts & Crafts, Hyogo, Japan; Museum Of Nature And Human Activities, Hyogo, Japan; Cheongju Tobacco Factory, Korea (7th Cheongju International Craft Biennale); Villa Olmo, Como, Italy (Miniartextil Como); Aichi Prefectural Museum of Art, Okazaki, Japan; Osaka University of Arts, Japan; Kherson, Ukraine (7th International Exhibition Mini Textile Art, Scythia); Hyogo Prefectural Museum of Art, Japan); Nagoya University of Arts, Yamawaki Gallery, Japan; Queen Elizabeth Park Community & Cultural Centre, Oakville, Canada; 21st Century Museum of Contemporary Art, Kanazawa, Japan; Arka Art Gallery, Gallery Vitrina, Janina Monkutė-Marks Museum-Gallery, Kėdainiai, Lithuania; National M. K. Čiurlionis Memorial Museum, Kaunas, Lithuania; Sangmyung University Art & Design Center Gallery Seoul,Korea; Fukuoka Asian Art Museum, Japan; Kobe Design University Gallery Serendip, Hyogo, Japan; Mazda Gallery, Sofia, Bulgaria; Shosha Art & Craft Museum, Hyogo, Japan; Shimada Museum of Arts, Kumamoto, Japan; Toyama Prefectural Museum of Art and Design Japan.
Award: Outstanding Performance, Contemporary Mini Textile Competition, Tokyo, Japan; Award: Ito Cultural Foundation, Prefectural Exhibition, Hyogo Prefectural Museum, Japan; Award” Excellence; 4th Netsuke Competition, Hotarumachi Campus Gallery, Osaka, Japan; La Primavera Prize: Kyoto University of Art, New York, NY.
Inspired by the basketry techniques, I create my works while taking advantage of the phenomena caused in the weaving process. A basket can sometimes get distorted as it gets woven. While this is typically considered a failure,"distortion" can be regarded as a characteristic of basket weaving. As I coil the thread around the core and shape it while holding the layers together, I look for the cause of distortion in the nature of the material, the direction of work and the angle of layers to effectively incorporate these elements into my work. The elasticity and shape of the core significantly affect the weaving process, as the thread constantly holds back the force of the core trying to bounce back outward. The material, structure, and form are closely connected with each other in the sense that while weaving in concentric circles, a structure is created to enclose the space, and the structure directly creates a form. By selecting materials and methods for weaving with the natural distortion in mind, I saw the possibility of developing it into twists and turns, and I find it interesting to see my intentions and the laws of nature influencing each other to create forms.