KOSOGAWA Runa

KOSOGAWA Runa others KOSOGAWA Runa others KOSOGAWA Runa others KOSOGAWA Runa others KOSOGAWA Runa others KOSOGAWA Runa others KOSOGAWA Runa others

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Profile

2008 Graduated from Toyama City Institute of Glass Art, Advanced Level Course
2007 Exchange Student, Canberra School of Art, The Australian National University
2006 Graduated from Toyama City Institute of Glass Art , Undergraduate Course
2002 B.F.A., Craft and Industrial Design department, Musashino Art University

WORKING EXPERIENCE

2002–04 designer and craftsman,Sugahara Glassworks Inc. ,Chiba

Solo Exhibitions

2015 Gallery Ten, Ishikawa ('13, '10)
2013 KOSOGAWA RUNA Exhibition, Gallery ARTONE, Tokyo
KOSOGAWA RUNA Exhibition, Takashimaya Nihonbashi, Tokyo
2011 “The Impression - that never leaves”, KEIKO Gallery, Boston
2009 “The impression” that never leaves”, Gallery 58, Ginza, Tokyo

Group Exhibitions

2017 Kokoro – Japanisches Glas heute, Glasmuseum Frauenau, Germany
My Style, My Life vol.2, Shinjuku Takashimaya, Tokyo
2016 Toyama Glass Museum, Toyama
Gallery Kochukyo, Tokyo
2015 Kurobe City Art Museum, Toyama
Art Fair Tokyo, Tokyo
2014 Aesthetic Premonition - Metamorphose, Takashimaya Gallery, Tokyo, Osaka, Kyoto, Nagoya
2013 Duo Exhibition: KOSOGAWA Runa and KOJIRO Yoshiaki, Gallery Now, Toyama
2012 Japanese glass exhibition, Notojima Glass Museum, Daikanyama Gallery
+PLUS THE ART FAIR、Tokyo ('11)
CONTEMPORARY ART FAIR, Korea,Taipei, Japan
2011 Hear Art ROME 2011, Museo Dei Fori Imperiali, Italy
Maison&Objet, Paris Nord Villepinte Exhibition Centre, Paris
Sinoda Toukoh and Glass artists, Rakusuitei Museum, Toyama
CONTEMPORARY ART FAIR Lineart, Belguim
2010 First International Triennale of KOGEI in Kanazawa, 21st Century Museum of Contemporary Art, Ishikawa
Light and Sculpture, Matsuzakaya Museum, Aichi
2009 Asago Art Village, Asago Biennale, Hyogo
Meets Kanazawa-2009, Dreams of Craft, Matsumoto Museum, Nagano
KOGANEZAKI, Contemporary Glass Art: Shape of the vessels, Koganezaki Crystal Park, Shizuoka
2008 Daiichi Museum Contemporary Glass Competition, Daiichi Museum, Aichi / Yamaki Bijutsu, Osaka
Contemporary Glass Triennial Toyama, City Plaza, Toyama Joint Exhibition by Glass Educational Network, Tokyo Metropolitan Art Museum, Tokyo
2007 International Competition 2007 in Kanazawa, Notojima Glass Museum, Ishikawa
2006 Contemporary Glass Exhibition in Sanyo Onoda, Yamaguchi
Toyama City Institute of Glass Art, graduation works exhibition, Toyama

Awards

2010 Grand Prize, Kanayamashi- Yakuichi
Best of Caregory-Sculpture,5th Tagboat Award, Tokyo
2007 Excellent Award, Glass Triennial Itami
Excellent Award, Toyama City Art Exhibition
Incentive Award, Echu Art Fest
2002 Excellent Award, Thesis Exhibition, Musashino Art University

Grant

2009-11 Udatsuyama Craft Workshop

press

2014 GLASHAUS
2013 Cyunichi Newspaper – a cultural column
mami flower design school magazine, June -pick up Artist
2011 Gendai Design Dictionaly -by Jyunji Ito
Nikkei Design -about Maison & Objet
Art Correcter -pick up Artist
Gakuto -pick up Glass Artist
2009 Flowers for the flower artists, SODO Shuppan
2008 Mapple Kanazawa Introducing an Artist
2007 Newspaper of Glass Works, Canberra, Australia
Canberra Times, Canberra, Australia

Collections

Toyama Glass Art Museum, Toyama
Kanazawa Utatsuyama Craft Workshop, Ishikawa
Australia National University, AUS
Utatsuyama Craft Workshop, Ishikawa

Artist Statement

My approach to my art comes from observing the small things and events that are normally obscured as we go about our busy daily lives. This evolved from my personal experiences when people very close to me became ill. While I took care of them as they faced death I realized how precious our ordinary days are as well as the small daily events that often pass unnoticed. That was when I began to keep notes from day to day about these little things I observed.

I began to feel that my thoughts seemed to match the language of flowers, and that is when I started to create pieces based on images of flowers. Glass gives me a sense of transience that can mirror or reflect the imagery of flowers and is the right material for me to reflect the themes of my work.

In Japan, our ancestors often painted flowers and tiny insects that expressed the ephemeral and transient nature of life. I feel that glass is a natural medium for expressing the images in my mind as a form of art.

As an artist I experienced an important change in 2012 when I moved to Hida-Takayama which is rich in natural beauty. Previously I had always lived in urban residential areas where I never felt emotional connections to place. As I started my new life in Takayama I began to understand for the first time the deep connection people have to the place where they live...the sense of belonging. I also began to understand the grief and pain people felt when they were forced to leave their land and when they were separated from loved ones. Since that time I have been focusing on the conflicts and contradictions in our societies and also on the importance of passing on the stories of war and environmental problems to future generations. That is why I am now working on a new theme--enquiring about the value of our lives--for which I am using black colored glass.

I am reminded of an event when I was a child. I did not know what color to use to draw the sun. In books I had seen the sun depicted in orange, but the sun did not really look orange to me. The way I think now has not changed since I was that little girl, because I often question so called ‘common knowledge’ wondering if what we think individually is really true or accurate?

I have chosen glass as the medium for my artistic expression because of its fragility and tendency to break; I do not see these cracks as a negative outcome, but instead I use these imperfections in my work as a serendipitous occurrence of form. Ceramic art is very different because irregularities, deformities, cracks and imperfections are often appreciated. I am trying to adopt this same ‘casual’ attitude of ceramics in my use of the hard material of glass, with all of its inherent characteristics. I now understand that it is possible to be free of “perfect beauty” when working with glass. I have a feeling this may derive from our Japanese concept of accepting nature as it is, and coexisting rather than confronting it.

When I encounter something beyond my imagination, I have the feeling that the needle on the compass of my mind disappears. I hope this leads me to something never before noticed, and therefore a step closer to the answer to my questions. This has led me to where I am today.