Japanese female artist Toshiko Horiuchi, who grew up in devastated Japan traumatized by the disastrous atomic bombing, firmly believes it can. Over her artistic career, all of her works have seemed to move in this direction: the unpretentious big spider’s webs she makes are real eye-catchers.
They are the result of long, painstaking manual work whereby through a daily activity like crocheting she braids fibres that develop into a full-blown architectural space. This space exudes an energy that is typical of spectacular movements but results from very unspectacular knitting work that Toshiko Horiuchi devotes herself to with unwavering patience.
Toshiko Horiuchi’s passion for a material like fabric and for its weft is deeply rooted in the artist’s culture that tends to prioritize touch and the connection with one’s own body over the visual aspect of life.
Toshiko Horiuchi explores the interaction between the human body and space, as well as between the human body and matter. Fabric is treated as an additional layer of skin that protects and hides individuals. Her sculptures are places rather than objects and offer their users a chance to hide or feel sheltered.
Art thus becomes a cosy hideaway for both body and mind. In order to approach Toshiko Horiuchi’s works, it is imperative to fully grasp their reassuring spiritual essence.
until December 31, 2014
Toshiko Horiuchi MacAdam
Harmonic Motion / Rete dei draghi 2013
Structural design: Norihide Imagawa
Design and production: Charles MacAdam
curated by Francesco Bonami
Enel contemporanea 2013
MACRO – Museo d’Arte Contemporanea Roma
via Nizza 138, Rome