Miyouki Nakajima
A collaboration with Galerie Sinople, Paris
Born in 1984, Japan.
Artist Miyouki Makajima lives and works in Paris.
Self-taught, Miyouki Nakajima is a visual artist who is interested in the use of textiles for making flowers and plants. Lyrical and poetic, her creations invite you to travel and explore feelings, even if it means moving away from realism to raise questions about the representation of time, whether it is frozen or past. Thus memories and emotions mingle.
Une Fille aux Cheveux Noirs has the pleasure collaborating with Japanese artist Miyouki Nakajima's exclusive agent Galerie Sinople to present three works handcrafted for the exhibition "Dépaysement".
After having been both artistic director and manager of a line of accessories in Japan, Miyouki Nakajima created her own house in 2013, SOIE:LABO, where she creates floral adornments for various designers.
The making of artificial flowers being a profession rooted in history but which has become a somewhat minor craft, the artist wishes to bring this heritage to life while contributing to its renewal. It is with ardor that she puts her heart and her skills at the service of a contemporary vision of this profession, respectful of its traditions. She never ceases to explore new techniques, to study know-how to put artistic value back at the center of this craft. It is thus quite naturally that she borrows, during her studies, from Japanese painters, techniques such as Sumi (Japanese ink), Kinzoku-Fun (metal powders) and Iwa-Enogu (pigments natural minerals). So many studies that bear witness to a tribute to the great French craftsmen, heirs to centuries-old traditions.
In her creation, she unconsciously projects her life and her story onto the impermanence of nature.
Galerie Sinople
From curation to exclusive editions, SINOPLE imagines thematic artwork and ever-growing artefact collections. These ensembles are built upon a cross-disciplinary artistic approach, reflecting a versatile contemporary creation.
“In contact with the latter, I experience abstract sensations, a mixture of feelings and impulses. The fleeting dimension of life and nature as it imposes itself on my senses, inscribes itself in me like a memory and inspires my creation.
I know that it is impossible to control nature. I fear and respect nature as much as I love it. For us, Japanese, nature is grandiose and its existence brings us many benefits while sometimes harming us: earthquakes, typhoons, volcanoes, tsunamis… Japan still lives with the specter of natural disasters. When I am in nature, I think of death, the impermanence and the fragility of life: life crumbles to finally regenerate. Nature invites me to agree to blend into its cycle.
And then, I must mention the Wabi Sabi so much in the eyes of Westerners, this word seems to them to define my creation. This comparison seems to me singular and fortuitous. First of all, it seems to me that it is essentially impossible to intentionally create a work that would give substance to Wabi Sabi. So I never tried to do that. If I had to try to interpret this word from the height of my knowledge, knowing that if I do not know how to define it, my interpretation may not be correct, I would say that Wabi means modesty, the state of estrangement earthly desires such as good reputation, wealth, and being fashionable. I would say, moreover, that Sabi means silence as one imagines it in ataraxia, in the absence of selfish thoughts. In short, the Wabi Sabi is never deliberately created, it is impossible for me to consciously express it in my creation. Rather, it is a certain pure beauty that evokes potential quality, a feeling that one experiences from the bottom of the heart. If the Wabi Sabi spirit exists in my work, that spirit expresses itself in the heart of the person who sees my work, I think. »
