エンコースティックって?(What is Encaustic?)

* In English: What is Encaustic?

Behind The Scene(アート制作・舞台の裏がわ)にようこそ!

今日のトピック:
美術作品などで、油彩や水彩などはよく聞くけど、エンコースティック(encaustic)って何?

LetItGo _680sh_cMisakoOba数年以上に渡って、私は作品に、エンコースティック(encaustic)を使っています。単独でエンコースティック画(encaustic painting)を制作する場合や、その絵具と油彩・水彩などをひとつの作品に織り交ぜたミクスト・メディアをよく制作しているのですが、最近出会った人々との会話や、展覧会の際、

「これは何で描かれているのですか?」「Encausticとは何ですか?」

とよく聞かれます。

ということで、米国でアートを始めたせいもあって、これまで英語ではencausticそのものや、その技法を紹介したことがあるのですが、今回は初めて頑張って日本語で解説します!

私の作風の特徴のひとつとして、視覚的・心理的に幾重にも「レイヤーを重ねる」というような特徴があるので、この透明感・半透明感のあるエンコースティックを、初めて知った時はワクワクしました! さまざまな要素のレイヤーを重ね、また、この画材は写真との融合も可能なのです。以来、この深くて複雑で魅惑的な媒体・絵具を試し、探究し、(シリーズにもよりますが)多くの作品に使っています。保存性にも非常に優れているこの絵具と技法には、非常に多くの方法と可能性があるので、ここで紹介するのはごく基本的なものです。

この絵具は何でできているの? 

まず、エンコースティック(encaustic)というのは、「蜜ロウ・天然樹脂(ダンマル樹脂*)・顔料から成る固形絵具」です(写真右)。エンコースティック自体は、簡単にいえば、ロウ絵具ですね。でも美術品を制作にあたっては長期保存を前提にしているので、原材料は一般に使われるものより厳選されています。蜜ロウ(beeswax)にも様々な種類があり、精製された白っぽいものを使いますが、自分で絵具を作る場合も、質や、あとで顔料と混ぜる際の色の発色等も重要なので、ケミカル(薬品)で白く精製されたものは私は使わないようにしています。1_Encaustic blocks_photoByMisakoOba

固形のエンコースティックを溶かして塗り、一筆ごとに、ヒートガンやバーナーで、塗った層をくっつけて融合・定着させていくので、かなり手間がかかります。日本語だと「焼き付け画」といってわかる人もいるのでしょうか。

欧米、特に米国や英国では、この絵の具、技法画材使っている美術家(アーティスト)も多く、専門の美術館もあるぐらいですが、確かに油彩や水彩、アクリル画などに比べると多くありません。(エンコースティック自体が、概して油絵の具よりも高価であり、描画技法や必要な様々な道具をそろえる手間もコストもかかるということも一因かもしれません。)一般の人では知らない人もいます。

 さらに日本では、芸術・美術界でさえも、まだまだ認知度が低い画材・絵の具であることを実感しました。とても魅力ある絵具・画なので、日本でももっと広まって欲しいと期待しています。ただ、日本のある美術家の方からは「扱いが面倒で厄介なため、あまりこの技法を使う画家はいない」と聞きました。

ちなみに、私が始めた頃は、日本語はみかけなかったのですが、近年は、やっと「エンカウスティック」「エンカウスティーク」などと書かれたり呼ばれたりしていますが、私は今のところ、英語に一番近い発音[inkɔ́ːstik]で、日常的によく聞いていて自然な「エンコースティック」を使うことにしています。

注意! オンライン辞書などでは、encausticはロウを使った絵具なので、よく「蝋画(ろうが)」「蝋画技法」などと訳されているのを見かけます。私も当初は日本語では「蝋画」や「蜜蝋画」と言うのかな?と思って使っていたこともありましたが、実は欧米のこのエンコースティック技法(私の作品にも使っている技法)は、1950年代に広まったという日本の蝋画とはまったく手法が異なるということがわかりました。そこで、まぎらわしい誤解を防ぐため、私は蝋画という言葉を避けています。

 

このエンコースティックは、国内の画材専門店などに足を運んでも、販売しているのを見たことがなく、ギャラリーや日本語のオンライン販売もカナダなど北米からのもので種類も限られていて、輸入のせいか値段もさらに高価になるので、趣味でちょっと試すにはいいかもしれませんが、大型作品の制作や美術品としての長期保存や材質・種類にこだわりがあるとまだ選択肢が少ないので、日本で制作する場合も仕方なく、結局すべてアメリカで購入したもの(画材・関連材料や道具)を使っています。

ただ、私も最初は市販されたものだけを使っていましたが、作る作品が大きくなるにつれて、また多くのアーティストがそうであるように、エンコースティック技法の経験を積むにつれて、自分の作品にあったレシピを研究し、以下の写真のように、描く時に一番必要なミディアム(メディウム)は、自分で材料を溶かしてを作るようにもなりました。また顔料を加え必要な色の絵具も作ることもあります。

国内ではまだフルに充実したエンコースティック画材の販売や技術が紹介されていないので、美術家の間でも認知度が低いのも仕方ないのかもしれません。(ちなみに描画過程で必要なガスバーナーだけはイワタニで良いものがあって米国のアーティスト間でも評判が良いので、それは使っています。)

DammarResin photo by MisakoOba

Dammar Resin ダンマル樹脂

構成要素・原材料のひとつであるダンマル樹脂は、東南ア ジアに生育する常緑樹が分泌する天然樹脂(結晶化した樹液)で、英語で Dammar crystal(ダンマル・クリスタル)とも言われるように、色は透明に淡黄色からちょっと褐色ががったものまであります。写真は私が米国で購入したもの。日本でも同じようなものを画材店やアマゾン等で購入できるようですが、種類が異なるかもしれません。

 

MeltingDarmarResinbyMisakoO

やわらかめの石のようなこの樹脂を、約200℉(摂氏約94℃)ぐらいで沸騰しないように溶かし、そこに分量どおりの蜜ロウを加えて、すべて液体になるまで溶かしていきます。先に蜜ロウを溶かす人もいますが、融点がダンマル樹脂の方が高いので、私は先に樹脂を溶かすこの方法でエンコースティックのベースとなるミディアム(メディウム)を作っています。

MakingEncausticMediumbyMisakoOba

蜜ロウとダンマル樹脂の比率 の “レシピ”は、出来上がったときの固さ、使い勝手、用途・好みに応じて変えます。テクスチャーや溶解温度も変わってくるため繊細なプロセス。

各画材メーカーや、作るアーティスト自身によって異なります。私も用途・好みでレシピを使い分けています。私はこれらを創作プロセスにおける「錬金術」と考えています。

Encaustic Medium done by MisakoOba

Encaustic medium. Done. 完成したエンコースティック・ミディアム

というのも、このロウの絵具の作り方次第で、固さや輝きほか、自分のアート作品に合わせてコントロールすることもでき、また作品に与える影響も可能性があるからです。

出来上がったこの半透明のミディアムは単独で使用することができ、また顔料を加えて着色して使用することもできます。私も、このあと再びとかして、顔料を加えて色のついた絵具を作ったりします。

アート制作は料理と似ている部分が多々あります^^)。私は制作の仕事からの逃げ(息抜き?!)で、よくアトリエから抜け出て台所に向かい、お菓子作りや料理に走ってしまいます。;)  そっちの方が気が楽で美味しいものもできますが、それではいけませんね..。もちろん道具は別々です(笑)。

エンコースティックの歴史。実は古典技法!

 一見、油、水彩、アクリルに比べて新しい媒体に聞こえるこの「エンコースティックencaustic」は、実は美術史上最古の絵画技法、古典的技法のひとつなのです。紀元前5世紀の古代ギリシャの絵画で一般的な技法で、刻のコーティング、船のつなぎ目のコーキングほか、1世紀頃のエジプトの墓での肖像画の絵具として使用されていました。 その後、一旦はほとんど姿を消したようですが、アーティストが現代の電気機器を使い始めた1990年代に復活。

ピカソなど著名アーティストも、実は使っていて作品が残っています。より近年ではジャスパー・ジョーンズのMoMA(ニューヨーク近代美術館)での展示ほか、欧米では多くの現代のアーティストが美術館やギャラリーで行われる展覧会にもエンコースティック作品を出していて、年々人気がさらに高まっているようです。

英語で「Encaustic」として使われている単語は、もともとギリシャ語 (enkaustikos)で「熱したり、燃やす」を意味しています。その言葉どおり、蜜ロウの絵具を熱して溶かして描くことから描いた各層の溶融まで熱が使用されます。

次回・今後は「具体的な描画手順」や「絶対にやってはいけないこと」ほか、すでにご購入いただいた方もいらっしゃるので「作品の飾り方・保管の注意点」などを紹介していきますね。

 

エンコースティック関連機関やイベント等のリソース(米国)

Promise1_detail2_380_MisakoO
*単に翻訳ではありませんが、英語サイト: In English: What is Encaustic?

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*以下の広告は記事内容とは無関係です。The Advertisements below are not associated with the post.

 

Posted in Creative process, definition, Encaustic, Japanese 日本語, Stars and/or Desert, Tutorials, wax or beeswax | Tagged , , , , , , , , , , , , | 1 Comment

What is Encaustic?

*私がアートに使っているエンコウスティックとは?(日本語) – In Japanese 

During my last show or in daily conversation with people I recently met, I was asked, “What is Encaustic?” It is more well known in some countries such as the U.S. and U.K. than others like Japan. I have many artworks of encaustic paintings or encaustic mixed media. Whether or not you are in the art field, the knowledge would not hurt. Your curiosity is welcome!  So, I am going to explain again.

If you read my previous posts, you may already know that I am an artist who has used encaustic for multiple years. I have many artworks of encaustic paintings or encaustic mixed media. It depends on the series, but one of the characteristics of my artworks is layers; layers of different elements in mixed media or even in photography. That has been done even before I ever began using encaustic. I was excited after discovering encaustic, which has a transparent and/or translucent character.

Since encountering encaustic, I studied and decided to experience, experiment, explore, and express with this medium. I just fell in love. It’s deep and complex. There are so many ways and possibilities to apply this medium. 

LetItGo _680sh_cMisakoOba

  What is encaustic paint made of?

Encaustic is a medium used in painting and can be made from beeswax, dammar crystal (resin), pigment. Some may add linseed oil and other ingredients. You could say encaustic is pigmented beeswax. It is like hot wax. Although encaustic paints are sold in art supply stores, many artists prepare their own encaustics. I do, too. Not all paints, but I make encaustic medium and some colors with my own mixture. I think of it as alchemy in the creative process, and it can affect how you control and manipulate this wax paint to your artworks.

1_Encaustic blocks_photoByMisakoOba
To make encaustic medium, I use beeswax and dammar crystal/resin. I then add pigment to make own color mixtures. There are several recipes. The appropriate proportion to manipulate textures is a detailed process. 

I also use R&F Handmade Paints and Enkaustikos Hot Cakes from art supply stores. I noticed slight color differences between brands even if the label is the same color name.

Painting with encaustic has a few basic steps.

1) Melt the paint
There is an encaustic heating palette. However, many artists and workshops use a hotplate/cooking griddle, which works well.

2) Apply to the surface/support and paint
The support must be solid and absorbent. So, stretched canvases are generally not appropriate unless they are very small, such as 4×4 inches. Encaustic doesn’t go well with acrylics. Therefore, canvas with acrylic gesso wouldn’t work. You could apply; however, it won’t last for long and it will crack. (I tried/experimented on 6×6 inch-canvas and it cracked after many years.) I am referencing artworks that are professional level and can be collectible for art lovers/collectors and museums and so forth. To ensure artwork lasts for a long time in art collections, I usually use wood panels or cradled wood panels. If applying on paper, I determine the amount of encaustic and how thin/thick based on the size and kinds of paper.

mystudio heating tools up13) Fuse the paint (each stroke or each layer)
Multiple methods and tools exist to fuse. I mainly use a heat gun and blowtorches depending on the desired results.

 

4) Repeat Steps 2) and 3).

 

Safety Measure
thermo_photoByMisakoOWhen painting, you have to manage encaustic paints between a temperature of 165°F and 220°F (74℃ – 104.5℃). The temperature shapes the texture: smooth or rough. Paints start to melt around 162°F. Some colors melt easily, while others require higher temperatures. You should take care not to overheat. Up to 220 °F is SAFE. As I work, I keep my eyes on a thermometer on my heated palette to not exceed this temperature. Otherwise, it gets toxic! The fumes can harm you. It is important to stick to safety measures, including proper ventilation. Be careful not to burn your skin with the equipment such as a heated palette, heat gun, etc.

 History of encaustic. It is an ancient medium!
Although the word encaustic sounds quite new compared with oil, watercolor, or acrylic, it is actually an ancient medium. It was a common technique in ancient Greek painting in the 5th century B.C. and used in ancient Greece to coat sculpture, caulk the joints for ships, or paint portraits in Egyptian tombs around the first century.

It seems encaustic almost disappeared from people’s eyes and became unpopular. However, a resurgence in popularity occurred in the 1990s as artists started to use modern electric equipment.

Resources for encaustic paint
If you are interested, you can read a brief history in the following books which I have:

The Art of Encaustic Painting by Joanne Mattera*
Encaustic Art by Lissa Rankin

R&F Handmade Paints in upstate New York offers workshops on the use of encaustics that include lectures, touching on its history.

NW Encaustic in Seattle and many encaustic artists organize workshops of encaustic painting. (I don’t call myself an encaustic artist but an artist or visual artist who uses encaustic since I use other media to art. It depends on my series and its concept.)

Many books and online tutorials are available about techniques besides the books I listed. I also liked Patricia Baldwin Seggebruch’s books. 

 Good events to meet artists who use encaustic
International Encaustic Conference
EncaustiCamp (This year will be the last one)

Now that you read this far, the next time you hear the word or see artworks created using encaustics, you may feel different.

With this ancient medium encaustic, I have been creating my mixed media such as Cosmos series (ongoing Stars and Desert project) in a contemporary setting using traditional and modern techniques.

 

To be continued in the next blog post about how to take care of encaustic art after purchasing it…

*私がアートに使っているエンコウスティックとは?(日本語) – In Japanese 
Promise1_detail2_380_MisakoO

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Holiday Show with Stars: New Decade

Contemplate in this Holiday Season…

The year 2020 is upon us. On a social and personal level, the holiday season is a busy time with family, preparing for vacation, shopping, and parties. These events are tremendous but also a bit overwhelming emotionally. Your plans, hospitality, and how you organize things don’t have to be perfect. Be kind to yourself this holiday season, and treat yourself and others gently by slowing down and appreciating friends, family, and your surroundings. You may have experienced many things this year—good, bad, disasters, celebrations…it is good to reflect, but try not to dwell on it. Look forward with intentionally good expectations. I always remind myself I should not be agitated based on the circumstances, which are always changeable.

Japan got into a new era from Heisei to Reiwa this year. 2019 was the last year of Heisei (the 31st year) and is the first year of Reiwa as we got a new Emperor. This has been big news for most Japanese and perhaps not as essential for some Japanese. I don’t go with the Japanese era or the Japanese calendar, but rather the Western calendar (Gregorian calendar) even when I am in Japan.

In the Gregorian calendar, we will get into 2020 next year…a new decade. At the same time, it is just another day. Every day is a new day. I will try to continue to make the most of my life, which is super short compared with the history of planets, all creation, and eternity.

In this year-end holiday exhibition, my works are related to the coming year as a new phase, which feels refreshing for most of us. I am sharing my personal and common feelings in the work.

"Getting Past" (detail), encaustic mixed mediaThe exhibition is from December 5 through December 28. The gallery curated small works that are smaller than 18 inches (about 45.5 cm). My artworks are brand new, which were completed this month, and quickly shipped to the gallery in New York. They are encaustic mixed media (9.5 x 9.5 x 1.5 inch / 24 x 24 x 3.5 cm) and are part of the series Cosmos in my Stars and Desert project. The pieces are priced well for this holiday show.

As some of you know, those works also have text such as timeless messages and computer programing languages (code) that correlates with stars and universe. As we approach a new year and new decade, the work titles are “Getting Past,” “New Phase

“New Phase,” Encaustic mixed media on wood panel. 9.5x 9.5×1.5 inch =24x24x3.5cm (floater framed). Details (right)

 Small Works Holiday Exhibition and Sale
December 5 – 28, 2019
Opening Reception: Saturday, December 7, 4 – 6 pm

Limner Gallery
123 Warren St., Hudson, NY 12534
[directions]

Tel: 518.567.7858

One of my artist friends, an oil painter, saw my original artwork in my studio and said,
“I’m sorry, but your works are unfortunate because the encaustic mixed media look much better in person and it doesn’t convey its beauty in the images online or on computer screen. Nowadays, people look and search for art mostly online.”

These comments were painful, but also true. Even video will not fully capture the texture or depth. Especially since encaustic and/or mixed media works look different, depending on the angle; shining or mat parts, atmosphere, heavy or light texture, subtle text in my work, and depth of the works. You can certainly enjoy more in person.

There will be many different types of artworks from other talented artists.

LimnerGalleryPostCardInvitation Post Card from Limner Gallery

Have you ever seriously sought your purpose and direction? – My work explores our universal experiences with human emotions, such as confusion, suffering, wondering, hope, joy, and love in our journey on this planet.  

I build layers of those complex elements with my emotions, traditional and modern techniques and mediums resulting in textured paintings. These paintings are challenging to feel the atmosphere (or view the actual texture) online, whereas the details come to life when seen in person.

Hope you stand in front of the art and feel what you feel. Time-Travel or recall your memories with your imagination. Come visit the gallery as a part of your holiday travels! 

I have experienced original artworks at galleries that have strongly spoken to me and transformed my life. I didn’t even know the artist. One day, art got me out of a dark sea. This experience occurred before I thought about creating art or being an artist; before knowing anything about art. In fact, those experiences lead me to pursue art career to encourage and hopefully inspire others and to energize people in the same way art influenced and fueled my passion and life. 

“Those who have insight will shine brightly like the brightness of the expanse of heaven, and those who lead the many to righteousness, like the stars forever and ever.” – Daniel 12:3

Wishing you a Joyous Holiday Season!✨  

 

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Related Articles: 

■ Stars and Desert” Series was developed after moving to Seattle, WA from New York, NY.
I often use text in my work. Text that has something to do with stars, constellation, desert, and universe in an abstract manner.
More about the artwork with code.
The paint encaustic is traditional medium, but I wanted to include something current or something that is reflecting our time.

To subscribe to Misako OBA’s Inspirational Art Newsletter, please sign up from here. 

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Posted in art, Creative process, Encaustic, Events and Reviews, exhibition, Mixed Media, New York, News/Announcement, Quotes, Stars and/or Desert, wax or beeswax | Tagged , , , , , , , , , , | Leave a comment

L.I.P.Y. (L’essentiel est Invisible pour les Yeux)

One more week to the exhibition [In the Details]! This will be my first time to show my mixed media works in my native country Japan. I’m going to Tokyo for this. Hope to see you there! 

The artist page is here.  My works are from L.I.P.Y.L‘essentiel est Invisible pour les Yeux” (=what is essential is invisible to the eye).  

The interview article was just published. I talked about my theme and hidden text in the work and shared some tips for your creative life!

東京での展覧会[In the Details] 展まであと一週間!これまで主にアメリカ等で発表してきたミクストメディア作品を、母国で初めて発表します。私も東京に行きま〜す。(ミクストメディアとは、ひとつの作品に複数の種類の画材を使い融合させたもの:私は、主にミツロウと顔料から成る「エンコースティック」と呼ばれる絵具と、油彩・水彩・和紙などを使っています)展覧会用ウェブサイトの アーティスト・ページには今回のテーマや、作品 “L.I.P.Y.L‘essentiel est Invisible pour les Yeux” (=what is essential is invisible to the eye:大切なものは目に見えないシリーズ)に関して記されています。オープニングを前に、思ったよりやることが多くて(本展示以外に小品のギフトショップも出るという企画者からの連絡で)超バタバタの日々を送っています。そんな中、インタビュー記事が掲載されました! 今回のシリーズ作品の中の隠された文字、想い、制作秘話なども語っています。クリエイティブ・ライフを送るためのポイントもシェアしていますので、是非ご一読ください!(英語ですが、必要に応じて自動翻訳なども使ったりして読んでくださいねー)

展覧会期間中、ギャラリーでお会いできるといいですね!アーティスト・レセプション詳細は以下。レセプションも含めて、入場は無料です。何度でもお立ち寄りください。コンセプトがある作品ですが、理屈抜きにご覧いただけるのもいいかと思います。作品を見つめながら自分自身と対峙したり、何かを感じてもらえたらたり、また、何かのきっかけになってくれたらうれしいです。

post card_inthedetails_bothsides

—–>>> Updated! Comment after the exhibition  /  展覧会後のアップデート・コメント:

The art exhibition In The Details 2019! The show was super successful! Thank for visiting the gallery to view and for purchasing the works.
….Thankful to the organizers, fellow artists, and the guests including those who came over from far places. Hope art gives you energy and provides inspiration in your life, and perhaps healing to those who need it.  It also allows you to see things from new perspectives! Misako OBA

展覧会は無事、成功の中、終了致しました。このたび、足を運んでいただいた皆様(遠方の方もたくさんいらっしゃって、しかも飛行機でお越し下さった方もいらして)、とてもとても感謝です)。また作品をご購入いただいた多くの方々にも改めてお礼申し上げます✨💜 
日常生活に、そして人生に、潤いとエネルギーと安らぎと希望と愛と…(欲張ってまだまだ色々ありますが(笑))お届けできたなら幸いです。ーーー大庭みさこ

(Artist Page and Interview article are still available.)

 

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‘Mono no aware’ and Japanese mentality

As I researched Japanese ancient poems *Hyakunin Isshu’ 百人一首  and keep creating my encaustic mixed media art series that is related to it by investing my emotions and imagination, I started to feel a ‘Mono no aware’ feeling/mentality is in some of those classical poems.

*‘Hyakunin Isshu’ 百人一首 is the collection/anthology of 7th-13th century Japanese waka (poem); 100 poems by 100 authors. As Japanese, we were told to memorize those phrases in school when we were small, mostly without knowing much of the meaning of each poem as a child. We also (including adults) play cards with Hyakunin Isshu Karuta traditionally particularly in New Year’s holiday in Japan in family. (How much you memorized affect the Karuta game to win! 🙂 But, again, most people don’t even care about the meaning of each poem because the words/phases are ancient Japanese and we don’t understand much.

Mono no aware’ is like Wabi-Sabi (explanation of Wabi-Sabi as follows at the bottom), it is originally unique concept that is based on the Japanese ancient way of life and its mentality.

But, NO Translation for ‘Mono no aware’ in English?

Mono no aware’ is considered difficult to be translated into other languages. Even many Japanese people cannot explain well in Japanese what Mono no aware means. We don’t use the word or term anymore in our daily life. Yet, we somehow learn in school (maybe junior high) in an ancient Japanese class a little bit. So, we know of the term, but there is not much consciousness about its meaning among most people. We may feel Mono no aware and we probably understand as subtle or vague feeling without even realizing it, though.

image of the art, Cry For LIFE -Lamentation (detail left) by MisakoOBA“Cry for LIFE – Lamentation C,” (detail) Misako OBA.
Original:  W38xH12xD1inch = approx. 96.5×30.5×2.5cm. Encaustic mixed media

I heard that an instructor in an interpreter/translator school in Japan one day asked students how to translate ‘Mono no aware.’ One of the top students who is Japanese-American and is truly bilingual answered, “I cannot translate.” The instructor nodded, “Correct.”  I have been pondering… Why?  It seems that because the meaning or usage of the term involves the natural environment such as topography and climate of Japan including the four seasons as well as Japanese way of thinking/history/culture, the instructor concluded Western people would not understand.  They normally don’t know about the way of ancient life in Japan, either. Therefore,  they don’t have experience or concept with that kind of situation/emotion/feeling or at least would have a hard time to understand.

However, as I have lived in the both countries, US and Japan, and traveled to many other countries and have close friends from different countries, I still believe or want to believe non-Japanese people would understand it. Maybe not everyone – each person in the world and their background is different- but some of them would understand. Some country even have a similar term, concept, and/or emotional state/feeling. Although it is quite characteristic of the Japanese world, it could also be found in other cultures….I assume. Perhaps not exactly, but as a similar emotional state as a human being.

I am not a linguist, so I found some references from books, dictionaries and online….and from my own experience. I feel challenged to explain, but will try. Some of my art pieces in Beyond Time & Space are created with emotion related to the Mono no aware’ feeling.

Cry For Life-Lamentation C, Misako OBA“Cry for LIFE – Lamentation C,” Misako OBA. Original: W38xH12xD1inch = approx. 96.5×30.5×2.5cm. Encaustic mixed media. Reflected poems #99, #68, #96, and #93 with re-written calligraphy. (As a triptych with two more pieces on the top, it will be W51x H26x D1 inch = about 130cm x 66cm x 2.5cm)

Definitions of ‘Mono no aware’

There are some different descriptions, but mostly it has the same or similar meaning. I selected some sources/references. Since the original descriptions are in Japanese, I personally translated the meaning as close as I can.  I hope those would at least help you a little to understand the term.

The word Mono no aware (もののあはれ/ 物の哀れ) is literally, “[4] pathos/pity of things,” but actually means:

– It is a profound or calm feeling/emotion/sentiment/atmosphere beyond description that seeps into the bottom of your heart that would occur when you are inspired by seeing, touching, or hearing things.  (=しみじみとした情趣: Commonly from multiple sources.)
Things that make you feel like you will forget your breath.

– Profound emotions/mood/feeling/atmosphere that naturally come up in the heart when touched on things or provoked and inspired by what one sees or hears.  Human beings affection. Elegant and delicate aesthetic philosophy gained by observing nature and life. (旺文社 古語辞典 [1] )

According 新明解 古語辞典 [2] , Mono no aware means:
-1. Atmosphere of things. People’ emotions.
-2. It is a literary term. A feeling/emotion that comes by touching the human heart and the beauty of natural objects. It is also a feeling/emotion/sentiment/atmosphere that seeps into the bottom of your heart.

-Mono no aware is one of the literary and aesthetic philosophy that are essential for knowing/understanding the dynasty literature during the Heian period (794- ca.1185) in Japan.
-A melancholic feeling or pathos by being aware of impermanence or transience of things.
-It is life ideal born from the hearts of the dynasty women who suffered and felt anguish. It is the ideology that influenced aesthetic sense and values ​​in Japanese culture. (Japanese Wikipedia[3] 

At the same time, feeling appreciative of [being sensitive to] the beauties of nature [things], and it has a positive meaning.

Lamentation and Mono no aware

Cry For Life-Lamentation (diptych AB detail), Misako OBA“Cry for LIFE – Lamentation”  (detail of diptych), Misako OBA. Original: W51x H12x D1 inch = approx.130cm x 30.5cm x 2.5cm.  Encaustic Mixed Media on braced wood panel. Reflected poems #34, #83, #84, #66 and #11 with re-written calligraphy. (As a triptych with one more piece ‘Cry for LIFE – Lamentation C’ to the bottom, it will be W51x H26x D1 inch = about 130cm x 66cm x 2.5cm)

I titled this work ‘Cry For Life  – Lamentation’ because the Hyakunin Isshu poems that I enclosed with the re-written calligraphy in the work are exclusively about life, and the contents of those poems feel to me like lamentation.  The authors of those poems expressed a state of  sorrow and pathos that seems to lead to the idea that the life in this world is in vain as their conclusion after having lived for long enough to recognize things in this world/life. They somehow depict feelings of despair and desolation.  One day, I found the word ‘Lamentation’ in the Old Testament.  There is a Book of Lamentation in the Bible and I felt it has a similar state of mind… sort of.   Lamentation in the Bible seems simpler or more straight minded for the ‘lament’ and seems to have nothing or little to do with Mono no aware, though.  Yet, those feelings are part of human nature.

It seems some authors of Hyakunin Isshu felt Mono no aware with regard to life in general.  While they expressed life as vain and poured their negative and pessimistic feelings (negativity) into the poem, I still feel they included or implied the beauty of transient nature/life (positivity) at the same time, which is Mono no aware mentality. – It has both sides. They also describe the nostalgic feeling for the time each author had experienced in their earlier life.

Cry For Life-Lamentation (diptych detail), Misako OBACry for LIFE – Lamentation”  (detail of diptych), Misako OBA. Encaustic Mixed Media on braced wood panel.
Original: W51x H12x D1 inch = approx.130cm x 30.5cm x 2.5cm.

To translate those poems into modern Japanese or into English is also very hard since there are some unwritten facts, feelings or the background of the situation that are behind each poem. But, here are some examples:

Poem #66: もろともに あはれと思へ 山桜 花よりほかに 知る人もなし
(Morotomoni Aware to omoe Yama-zakura Hana yori hoka ni Shiru hito mo nashi).
Miss me as well as I miss you, wild cherry blossoms. In such a heart of a mountain, it is only I that know how beautiful you are and it is only you that know how lonely I am.

Poem #83: 世の中よ 道こそなけれ 思ひ入る 山の奥にも 鹿ぞ鳴くなる
Oh, this world doesn’t have any escape! Hearing a deer crying, even such a deep heart of a mountain, which I have come into with determination, seems to have bitterness and sadness too.

Poem #84: 永らへば またこのごろや しのばれむ 憂しと見し世ぞ 今は恋しき
I’m wondering whether I could look back on these bitter days with nostalgia if I live long, as well as I miss now the past time when I had much grief.

Poem #99 :人もをし 人もうらめし あぢきなく 世を思ふゆゑに 物思ふ身は
It is a matter for regret that I am lost in thought variously because of taking this world unworthy, sometimes loving people and sometimes hating people.

Poem #66, 83, 84, and 99: Translation by SIG English Lounge

…and more. Altogether, I put the 10 poems in my art in the Part 2: Cry for LIFE.
I categorized 10 poems out of 100 that would belong to ‘about life’;  used the nine into ‘Cry For Life I – Lamentation’ and one into ‘Cry For Life II’  with layering calligraphy.
Like the meaning of Wabi, the poems also referred to the loneliness of living in nature, remote from society; Sabi, originally meaning “withered,” is an aesthetic sense and beauty whereby you can feel deep things and rich things naturally in the silence.

image of the art, Cry For LIFE 2 #35 by MisakoOBA“Cry for LIFE II #35”  2017 by Misako OBA.   Encaustic Mixed Media on braced wood panel.
W12x H18x D1 inch = 30.5cm x 45.8cm x 2.5cm. Reflected poems #35.

Dealing with the part of the concept of Mono no aware in my Beyond Time & Space series,  you can take a peek at the artwork from Part 2 Cry for LIFE.  The exhibition is until the end of this month! (more info below) . Thank you to those who already have visited the gallery! As for this particular piece ‘Cry for LIFE II’, I started it during the Brush Creek Artist in Residency (summer 2017) and completed it in fall in Seattle. The pigment transfer images that I made on encaustic are from Korea, Wyoming and Washington State deliberately as if they were from Japan.

Image of Cry For LIFE 2 #35 (detail), Misako OBA

CryForLIFE2_detail3UmeHito_MisakoO_900s.jpg “Cry for LIFE II #35” (detail), Misako OBA. From beyond Time & Space Series, Part 2.
The leaves are from Seattle. The plum blossoms and the scenery are from Korea where I traveled early this year.
They may look as if they are from Japan, however, I intentionally use the materials from non-Japanese countries
where I have lived or traveled as a part of the journey of life; My photo images that appears partly in the work,
which are not just collage of printed images but pigment-transfer, are actual evidence as I become a witness of
our 21st century, conveying my series concept that depicts the same emotion in different ‘time and space’.

Poem #35: 人はいさ 心も知らず ふるさとは 花ぞ昔の 香ににほひける / Poem by 紀貫之 Tsurayuki Kino (868~945)
Dear innkeeper,  I don’t know whether your mind is the way it used to be as as it is said that the human mind often changes. But, the plum blossoms are in glorious bloom and giving off the same scent as before (and welcome me) here in the town.  (So, please do not be mad and put your good mood back and let me stay in your Inn.)

Poem #35: Translation by me.

The English phrases you see as abstract in the work is:  Be angry and do not sin; do not let the sun go down on your anger, and give no opportunity to the devil. (Ephesians 4:27)

Additional info about this poem and the work:  This poem was read by the poet Mr. Kino in response to the innkeeper who was not in a good mood when he/she saw him and little mad by saying “it’s been a long time since you stayed here last time.”  He expressed the comparison between the state of mind of human and nature with mild sarcasm.

ShowPostCard_Limner2017Gallery Hours Thurs – Sat:  12-5, Mon-Wed by appt.
Please call to confirm the open hours during the holiday. Tel:  518-828-2343 

LIMNER GALLERY, 123 Warren StreetHudson, NY 12534 
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Personally
I didn’t like traditional or classical Japanese things or art when I was a child. It looked too old fashioned and lame. (My eyes were always towards the Western way of thinking, life or art.). I never really liked or was interested in Calligraphy, either. However, after living outside of Japan for many years, I started to feel differently about those Japanese traditional things and appreciate them. They have a long history and are deep and complex indeed. I even started to feel privileged to have known that mentality or philosophy by experience or by heart or mind.

Lastly, here is little bit more about the series, Series, Truth in Emotion “Beyond Time & Space”  – Reviving 100-WAKA (Japanese ancient poems/ letters) –
People today love and suffer just as the ancients did. Linked by our humanity, we face much of the same feelings and issues. It truly is beyond time and space.  
For this project, the Haykunin Isshu were re-written in calligraphy by my father, a calligraphy master in Japan using specific ancient characters (the same as back in those centuries) on traditional Japanese paper. Then, I have been creating art with encaustic (an ancient medium), integrating BOTH ancient and contemporary elements by layering in each unique piece in the series.

image of the art, Cry For LIFE -Lamentation (detail Right) by MisakoOBA“Cry for LIFE – Lamentation C,” (detail) Misako OBA.
Original:  W38xH12xD1inch = approx. 96.5×30.5×2.5cm. Encaustic mixed media.
Image of Cry For LIFE 2 #35 (detail), Misako OBA“Cry for LIFE II #35” (detail), Misako OBA.
Original:  W18xH12xD1inch = approx. 45.8×30.5×2.5cm. Encaustic mixed media

Wabi Sabi
As you read about Mono no aware, I assume you may think of the term Wabi Sabi, which is more popular internationally, and you know it or at least have heard of it. This term also has a complex meaning and cannot be translated easily. However, in short:

In traditional Japanese aesthetics,  Wabi Sabi (侘 寂) is a world view centered on the acceptance of transience and imperfection.  (……) Around the 14th century these meanings began to change, taking on more positive connotations.  Wabi now connotes rustic simplicity, freshness or quietness, and can be applied to both natural and human-made objects, or understated elegance. Sabi is beauty or serenity that comes with age, when the life of the object and its impermanence are evidenced in its patina and wear, or in any visible repairs. (Wikipedia)

Wabi Sabi is an ancient aesthetic philosophy rooted in Zen Buddhism, particularly the tea ceremony, a ritual of purity and simplicity in which masters prized bowls that were handmade and irregularly shaped, with uneven glaze, cracks, and a perverse beauty in their deliberate imperfection.  (Whole Living: Wabi Sabi Your Life: 6 Strategies for Embracing Imperfection)

This Wabi-Sabi philosophy reminds me of Kintsugi, which I heard and learned from my American friend recently, a Japanese art form originally invented by a happy accident.

At this time of the year as New Years Day and biggest Japanese Holidays are just around the corner, I ponder about a lot of traditions, customs, mentality, and meaning behind them.  And, I know I need to finish the work eventually with 100 poems in total!  (How many more? hmm…)

Wishing you a Happy New Year!!🎉✨

Source/References for the definition of Mono no aware:
[1](旺文社 古語辞典 改訂新版。松村明、山口明穂、和田利政 編 )
[2](新明解 古語辞典 第二版 三省堂。編者代表:金田一春彦、監修:金田一京助)
[3]   Japanese Wikipedia
[4]   Weblio 辞書

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Artist in Residence -Part 3

Today’s post is additional information such as meals and extra activities outside of studio at the Artist-in-Residency offered by Brush Creek Foundation of the Arts in the U.S.

You can find more information about Artist-in-Residence (AIR) in my previous posts based on my experience.

Part 1)  What is AIR? Environment and Facility of the AIR at Brush Creek Foundation of the Art (BCFA).
Part 2) Benefits of AIR, highlights from the Open Studio and list of AIR programs in the world.

Part 3)

Not all AIR program provides each meals. However, Brush Creek Foundation of the Arts provides breakfast, lunch and dinner almost every day. In order to focus on working, those are big help. They have a laundry facility and they have detergent and dryer sheets…etc. Artists’ lodge (sleeping unit) was located just about from 30 seconds to a couple minutes walk, depending on your studio. I really appreciate those conveniences to save time and concern.

The breakfast was self-prepared. The program provides basic food and supplies such as eggs, bacon, fresh fruits, bread, bagels, cereal, oatmeal, milk, juice, cream cheese, honey, coffee, water and tea…etc. If anything is missing as days go by, the artists can let them know by writing on the white board. Or you can buy your own stuff and can keep it in a fridge. They even had energy/cereal bars to take for our hiking. (It is important to bring water (bottle) when you hike in the mountain! The air is thinner due to the high altitude.)

They bring a lunch selection around lunchtime to the kitchen. Dinner meals are also shared family-style in the common area in the evening. Those are America’s Western-fare lunch and dinner prepared by chefs. If you are a vegetarian, require a gluten-free meal or have allergies, you can request it in advance. Feeling appreciative of all those options and arrangements. The amount of food was always enough – more than enough and we always have leftover. One day, I asked about the large amount of food/meals. One of the directors answered with smiling, “We don’t want artists starving ^^).”

Artists are responsible for clean up after meals and we enjoyed doing it all together with timing how fast we could clean! We had a great teamwork. 🙂 During my residency, some artists baked cookies for all of us, others made chocolate sauce for ice cream topping, others made banana ice cream shake. Yum! Hmm…. I miss all those! Great memories.

Extra activities outside of Studio
A couple of my friends asked me about activities outside the studio in the artist in residency. So, I decided to post those ‘side’ activities that I did, which were fun! I guess I look/am very serious in a studio (Of course…during the work).

So, what we did outside the studio time:
■ Stimulate your interest in the library.
What’s interesting was to see other artists’ work as a book or in CD/DVD form. There are many books by the current and previous resident artists. They welcome the reading materials from the artists to fill their library collection. So, I donated my FAUSTUS book. As other artists had a chance to view the book, I appreciated hearing the comment from them.

■ Hiking to the mountain!
Hiking on the Brush Creek Ranch in Saratoga, Wyoming was very different from hiking in Washington or in Japan. It’s mostly flat and with no tall trees, which I found interesting and also enjoyed. Flowers are…hmm….mostly thistle. I felt so different. It was quite nice to walk not in bush! The location itself was in very high altitude, so we had to be careful. They advised we drink lots of water. Fortunately, my body got adjusted and used to it very quickly and had no problem. There are many hiking courses available right near our studios. They provided us a map of Brush Creek Ranch trails and roads. We went on hiking individually. Some artists went hiking almost every morning and ‘conquered’ all trails! The Foundation says, “You must have previous experience with each activity and feel comfortable adventuring out on your own.” Yes, the mountain is nature. For safety sake, we were advised to write our name, where to, what time we expect to come back on a white board for each time we venture out. I went hiking in the early morning before it gets too hot and to avoid strong UV. Or we as a group sometimes just walked near our studios in the evening. It was very refreshing and beautiful!

■ Bonfire, S’mores, Gazing at stars…
We gathered together around bonfire a couple times after work, enjoyed company and conversation, made S’mores, and gazed at stars…. I saw the Milky Way with my naked eye for the second and third time in my life! Those experiences would be reflected in my work. We were there in summer. As non-guided activities at the Residency, in winter they say cross country skis, poles or snowshoes can be checked out from their Barn.

 Night Out
At night, we went to town for a live music bar where an assistant director for the Art Foundation was singing for her gig! (She is a musician, too.) The atmosphere of the bar was super different from the ones in NY or in Seattle. The crowd was very different. It was a great experience. I played pool there with some artists from our AIR, and it was fun! Unlike my previous residency experience, a lot of us (eight artists in total) this time had a chance to get together and most of us are very talkative by nature (in a very good way), so we had lots of conversations outside the studio, which was great, too!

■ Eclipse
During my residency in summer, there was eclipse this year. In some regions in Wyoming, you could see total eclipse. In our artist camp at Brush Creek Ranch, Saratoga, it was 97%. The certified eclipse glasses (that my thoughtful assistant ordered) arrived to my studio right before the event in time! We all enjoyed the process of eclipse.

■ Tour – Spirit of the American West
The Art Foundation gave us a tour and trips to the town of Saratoga every Monday where we can get extra snacks, alcohol or art supply (at the hardware store) if we need.

There is The Lodge & Spa at Brush Creek Ranch near the Artists’ camp. They also gave us a tour there.

Over the years, Brush Creek Ranch has served as a home to numerous families, cattle and horse herds, offering a one-of-a-kind gathering place for guests from around the world. The story of Brush Creek Ranch dates back to 1884 when the Sterrett brothers settled the land and built the original homestead with logs cut, skid and hauled from the adjoining National Forest.  In 2008, the ranch was purchased by Bruce White, Chairman and CEO of White Lodging, one of the most respected names in the hotel industry. The Lodge & Spa at Brush Creek Ranch is the culmination of the White family’s extensive hospitality experience, continuous dedication to philanthropy and unabashed passion for the sustainability of authentic Western heritage. Their vision unfolds as a refined 15,000-acre getaway that strikes a perfect balance between active outdoor recreation, shared experiences, economic sustainability and preservation of the western way of life. (History of a Wyoming Ranch, Brush Creek Foundation for the Art)

■ Hot springs
There is a natural hot spring (called Saratoga Hobo Hot Springs or Hobo Pool) available in the town of Saratoga, Wyoming, which is open 24-7 and free to the public. The pool is owned and maintained by the Town of Saratoga. Some of the artists went and enjoyed! There is a river near the hot spring, so you can jump in and out of those two hot/cold water!

Selfie Photo Shooting
We live in the time of cell phone cameras and digital photos including selfies. On the second from the last day of our residency, after cleaning up the studio, most artists dressed up…a lot of them dressed up like American Western style, and they were ready to take photos of themselves:).   I was encouraged to join them, so I changed and we all had a photo shooting.  You can be creative in any opportunity at the end.

 

 


:: My other related posts about Artist-in-Residency☺::

Part 1)  What is AIR? Environment and Facility of the AIR at Brush Creek Foundation of the Art (BCFA), WY, USA.

Part 2) Benefits of AIR, highlights from the Open Studio and list of AIR programs in the world.

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Artist in Residence -Part 2

*AIR in Japan and For further info  were added (on Sep. 20).

As continued from my previous post, this is about Artist-in-Residence (AIR), Part 2. 

During the Brush Creek Foundation of the Art (BCFA) AIR last month, we had an open studio event. As I mentioned, while many artist-in-residence programs require or request guest artists to have some contributions such as a workshop, exhibition at the end, or collaboration in the community and so forth, BCFA’ s open studio had no such obligation. That actually made me feel more free and more appreciate it, and willing to share voluntarily. In fact, all eight artists including me chose to attend the open studio and share our work.

Part 2)  Photos/highlights from the Open Studio and an event by the artists at Brush Creek Foundation of the Arts Artist-in-Residence.

The Business Benefits Of Visiting An Artist’s Studio
If you are interested in collecting art, viewing art, or even just feeling appreciate art, this article from Forbes may be a good read.

By the way, What are the Benefits of the Artist in Residence? 

For a long time, I was not really interested in AIR maybe because I had a space to work on my art near my apartment or inside my house (although it may not be huge) and didn’t want to be bothered by traveling far with all the equipment and art materials all the way to somewhere I cannot have access to the city, town or to art supply stores easily. (I have to admit that I have spent most of my life in a big city, and it has been easy to get around to anywhere/anything). Or paying a rent for an apartment and an art studio, and I felt overwhelmed to leave those or leave daily tasks for weeks for AIR. However, there is a time for everything. This summer was a perfect time for me to get out where I live/work and spend some sharp focused creative time for a project in nature and unfamiliar environment. So, last spring, I decided to apply for one of the AIR programs that I heard is great, and my artist friend recommended me to it a couple years ago. The program is organized by the Brush Creek Foundation of the Arts, and fortunately, I was accepted.

If you are an artist (visual artists, writers, playwrights, musicians/composers, performing artists…), architects, scientists, researchers or academic scholars…etc, you may want to be in AIR because:  

  • It gives you large chunk of time and space outside of your normal routine.
  • allows you to immerse yourself creatively in your studio
  • gives you a different environment for your work and living space.
  • allows you to develop/improve your practice.
  • helps you create new work.
  • helps focus on advancing or getting to finish your project without much interruption.
  • sustains you professionally.
  • exposes you (your work) to an art or art-interest community.
  • generates possibilities in various ways.
  • furthers/advances your professional career.
  • gives you resources and time for reflection.
  • stimulates/inspires you for your possibilities, ideas, creativity and/or art business practice.
  • may lead to exhibitions, performances, and/or publication
  • may get you completely new ideas or direction.
  • will raise/keep motivations for your creation.
  • enriches your career and life. 🙂

You can:

  • learn or experiment a new skill, technique or materials.
  • gain more of your knowledge.
  • share/be shared information or insights of your field.
  • have opportunities to interact or connect with other artists of the same field or different field. (Create/ build/expand networks).
  • possibly have an access to specialized tools, resources or archives
  • may have an opportunity to start/establish relationships with curators and those who have interest in art. 
  • connect with the host organization/institution.
  • contribute to the community with your art.
  • learn your creative market (or possibly develop new markets).
  • increase confidence (especially, if you are an emerging artist).
  • have recognition of being selected and awarded a residency.
  • may have stipend or financial support.

Those are possible benefits, and it also depends on what your career stage is. I feel the important thing is to know your own goal in the residency and even for your entire career.

What I did in the A.I.R.

During my residency this summer, I resumed working on the series ‘Truth in Emotion, Beyond Time & Space,’ in encaustic mixed media, as its Part 3.

People today love and suffer just as the ancients did. Linked by our humanity, we face much of the same feelings and issues. It truly is beyond time and space.

Continuing from Parts 1 and 2, which I completed in 2015 with 28 works, I integrate both ancient and contemporary elements by layering ca. 7th through 13th century Japanese poems in re-written calligraphy with my encaustic painting. Becoming a witness in a different Time and Space, I combine these with actual images produced using a transfer technique to evidence our own 21st century U.S. At the same time, I invest my own emotional content and imagination.

The process involved photographing nature including wild animals, wall textures and so forth, locally. The sand (very small stones) I found on the ground in front of my studio were embedded in the encaustic and became the ground of the image. Due to the series concept, these elements should originate elsewhere than in Japan. The work is a deep examination of our soul and emotions and also depicts the transient nature of beauty. Dialog with nature became texture in my work.

Also, my father, who passed away last year, was a master calligrapher in Japan and contributed a portion of his work to this series. Therefore, the work I created/create in this series will also function as an homage to him.

Image (right): This encaustic mixed media  “Four Seasons – Fall” (detail) contains the ancient Japanese poem (Hyakunin-isshu #5). Photo images of deer, silver grasses, maple leaves…etc. from the actual/natural objects from here in the U.S.. I did archival pigment image transfer onto wax (encaustic mixed media).

#5:  奥山に 紅葉ふみわけ 鳴く鹿の 声聞くときぞ 秋はかなしき (猿丸大夫)
Translation: How lonely autumn is when a deer calls his wife plodding on the ground covered with maple leaves in the mountains.

Image (left): This encaustic mixed media  “Four Seasons – Fall” (detail) contains the ancient Japanese poem (Hhyakunin-isshu #5). Photo images of deer, maple leaves…etc. are archival pigment transfer.

#1:  秋の田の かりほの庵の 苫をあらみ わが衣手は 露にぬれつつ (天智天皇)
Translation: The roof cover of the temporary shed for harvest in autumn is so rough that my sleeves are getting wet and wet with dewdrops.

“Best Artist Residency” in Europe!?

There are many Artist in Residency in the U.S. and internationally. I feel the one I experienced this summer was one of the best in the U.S. (At least, it suited me.)  I didn’t know much about the Residency programs in Europe or Asia. But, I came across recently this Artnet News post, listing “Best Artist Residency” in Europe.  It seems those are from experts’ perspective. The programs are in Germany, Italy, France, Spain and more…

More AIRs in Europe:
Bogliasco in Italy
Camargo in France
La Napoule Art Foundation in France 

AIR in Japan:
I didn’t know much about AIR in Japan. But, I found this source.
■ AIR_J is an online database of artist-in-residence programs in Japan.
A lot of organizations welcome non-Japanese artists. So, if you are interested in living/creating in Japan, you should take advantage! (For AIR, awards or opportunities in Japan, they often limit the applicants’ age and/or nationality, which is unfortunately still a part of their culture.)
I have been to Arcas in Ibaraki (- I was invited to write a story at that time when I was a journalist). They have an open studio. For Arcas, if you are only non-Japanese (nationality), you can apply.  It seems many organization has a language support. Akiyoshidai International Art Village has Japanese bilingual coordinators who support the artists during the residency.  So, if you can speak English, it should be fine.

Are you looking for Artist in Residence programs in the U.S.?

The fellow artists that I met at BCFA AIR have experienced other Residency previously. (Actually, all of us had).  The programs below are the ones they recommended. I would suggest you pick what fits you. It depends on your arts career and what you are looking for. Best Wishes!

-Listed in the order of what we (the artists from BCFA AIR) have been in and/or what talked about the most.

Other than Brush Creek Foundation of the Arts,
Ucross Foundation in Wyoming
MacDowell in New Hampshire
Jentel in Wyoming
PLAYA in Oregon
Djerassi in California
 I-Park in Connecticut
Ragdale in Illinois
The Millay Colony for the Arts in Upstate New York
Hambidge Center for the Arts in Georgia
Yaddo in Saratoga Springs, New York
Sitka Center in Oregon
Horned Dorset Colony, Leonardsville, New York
Anderson Center in Minnesota
Willapa Bay AiR in Washington
■ Lighthouse Works – Fisher Island, New York
Atlantic Center for the Arts in Florida
VCCA in VA

For further info:
■ 
[res artis] is a worldwide network of artist residencies. You can find more listings here as well.
■ 
DutchCulture|TransArtists has a search engine for artist-in-residence opportunities worldwide (with around 1400!).

The publications below are just for your info. I personally don’t know if those are good and true, but it would be your options to check them out. The guideline or application process of each program may be updated at any time.

 8 Artist in Residence Programs to Launch Your Career

7 Artist Residencies With Career-Launching Power | Artwork Archive

7 artist-in-residence spaces where creatives can live and work for free

Are You an Emerging Artist Looking to Raise Your Game? Here Are 7 Residencies That Can Help.

:: My other related post for Artist-in-Residency:

Part 1)  Environment and Facility of the Brush Creek Foundation of the Arts Artist-in-Residence, WY, USA

next post
Part 3) …  Extra extra, including food they provided ☺ Will be coming up soon.
– Library, kitchen and meals.
– Fun thing you can do while in the Residency.

Come back again for the Part 3! 

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