59nk Cube White & Red, Naomi Kobayashi, Japanese paper, paper thread, mirror, 2.5” x 10.5” x 10.5” each, 2014, $1,000 each
55nk Untitled, Naomi Kobayashi, , Naomi Kobayashi, kayori thread, paper, 99" x 54" x 5" (x2), 2006, $1,750 each
50nk The Sun-Shine on the Water, Naomi Kobayashi, washi paper, koyori thread, india ink, cotton, 20" x 12.5" x 2", 2009, $1,200
48nk At Grands Montets, Naomi Kobayashi, kayori thread, paper & wood, 11” x 31.5” x 2”, 2008, $2,100
39nk Kaku 2000/106 & 104, Naomi Kobayashi, paper and thread, 17” x 13.5” x 2” , SOLD
Selected collections and exhibition venues:
Museum of Modern Art, New York, New York (Structure and Surface: Contemporary Japanese Textiles); the Metropolitan Museum of Modern Art, New York, New York (Modern Design Collection, permanent collection); Central Museum of Textiles, ?ódz´, Poland; Lausanne, Switzerland (International Biennials of Tapestry); Stedelijk Museum, Amsterdam, the Netherlands (permanent collection); Savaria Museum, Szombathely, Hungary (International Biennials of Miniature Textiles); Museum of Contemporary Art, Morelia, Mexico; Cleveland Museum of Art, Ohio (permanent collection); Museum Bellerive, Zurich, Switzerland; Museum of Arts and Design, New York, New York (permanent collection); St. Louis Art Museum, Missouri; Victoria & Albert Museum, London, England (permanent collection); the Israel Museum, Jerusalem; Gunma Prefectural Museum of Modern Art, Japan; Bankfield Museum, Halifax, England (Textural SPACE – traveling exhibition); Tama Art University Museum, Tokyo, Japan; Japan Society, New York, New York (Fiber Futures: Japan’s Textile Pioneers, traveling exhibition, catalog); Passage de Retz, Paris France (Textile Magicians in Japan); Meguro Prefecture Museum, Tokyo, Japan (Textile of Japan); Charmey Museum Switzerland (3rd International Triennial of Paper); Singapore Art Museum; Rijswijk Museum, the Netherlands.).
25 & 26nk Pagoda P & B
Naomi Kobayashi, cotton and aluminum cast, 2.75” x 11.5” x 11.5”, each, $3,800 set
Early on, I proceeded to make highly constructed, sculptural works, but now I strive for spaces that have an airy feeling, that incorporate air and wind within them, and that are so ephemeral they feel as if they might disappear at any moment. I am drawn to the relationship of uchi (inside) and soto (outside), to light and darkness, and to the progression of time, all of which are felt so strongly here in Japan. I value the cycles and rhythms of nature and the universe. I have accepted tradition and modernity within myself in a very visceral way, and even now, I move my hands hoping to express these themes in my work just as if I were composing a poem.
Textile Magicians from Cristobal Zanartu