RUSU Aki
| 2015- | Part Time Lecturer for Tama Art University |
| 2006 | Established the Studio |
| 2002-5 | Assistant, Tama Art University, Tokyo |
| 2002 | M.F.A., Tama Art University, Tokyo |
| 2000 | B.F.A., Tama Art University, Tokyo |
Solo Exhibitions
| 2019 | Creative Reconsideration of Welding Method, Yakata Yusai, Tokyo Metal Sculpture, Meguro Togeikan, Mie ('16, '13, '10, '06) Gallery Tougendo, Miyagi |
| 2018 | Negative Space for Consciousness, Nishonbashi Takashimaya, Tokyo |
| 2017 | Kandori, Tokyo |
| 2016 | Gallery Togendo, Miyagi Gallery Okariya, Tokyo ('13, '12, '11) |
| 2015 | Iron Sculpture by RUSU Aki, Nihonbashi Takashimaya |
| OBSERVATIONS: Iron Sculpture, Keiko Art International | |
| 2014 | Kakiden Gallery , Tokyo (countenancer: Ichioka Shinzi) Nihonbashi Takashimaya, Tokyo Gallery Togendo, Miyagi (’12) |
| 2013 | Gallery Okariya, Tokyo ('11, '12) Gallery, Meguro Togeikan, Mie (’10, ’06) |
| 2009 | Gallery Satsu, Tokyo Gallery Akasaka Inui, Tokyo (‘07) |
| 2008 | Metal Art Museum Hikarinotani, Chiba |
| 2003 | Contemporary Art NIKI, Tokyo |
Group Exhibitions
| 2020 | Tansuio Award Exhibition: Contemporary Metalwork, Sekido Museum of Art, Tokyo |
| 2019 | Art Miyagi, The Miyagi Museum of Art The 21st Mokichi Okada Award Exhibition: Front Line of Japan’s Contemporary Kogei Craft Art, MOA Museum of Art Expression of Metal, Sokyo Gallery, Kyoto 20 Passions for Crafting Crafts, The National Museum of Modern Art, Tokyo |
| 2018 | Fu Tan Sho, Yokohama Takashimaya, Kanagawa For Kinds and Adults, The National Museum of Modern Art, Craft Gallery, Tokyo |
| 2017 | Rusu Aki and Ichioka Shingi, Kakiden Gallery, Tokyo My Style, My Life,vol.12, Shinjuku Takashimaya, Tokyo Encounter: Vessels and Flowers, Kakiden Kokon Salon, Tokyo |
| 2016 | Decoration for New Year, Gallery Okariya, Tokyo Gallery Voice, Gifu Auspicious Celebration of Live, Oita Prefectural Art Museum, Oita Kikuchi Kanjitsu Contemporary Japanese Crafts Exhibition, Musée Tomo, Tokyo |
| 2015 | Nippon! Contemporary Arts and Crafts from Japan, ESH Gallery, Milan, Italy |
| 2014 | Vessels of Tohoku, Itami Craft Center, Hyogo Tochigi Kuranomachi Museum of Art Double Value Product: Nicolai Bergmann x Japanese Craft Artists, Nihonbashi Mitsukoshi, Tokyo 19th MOA Okada Shigekichi Award Exhibition, Shizuoka |
| 2012 | Sabi no Keshiki: Tea Room of RUSU AKI, Hagi Uragami Museum |
| 2008 | Pianissimo, TANAKA Migiwa and RUSU Aki- from Seashore in the Winter, Chigasaki City Museum of Art, Kanagawa Prime Form of Kogei, -about revolution forms-, Gallery Voice, Gifu |
| 2007 | Contemporary Japanese Textile and metalworks: From Materials and Artistry to Form, Tsukuba Museum of Art, Ibaraki The Power of Crafts: Outlook for 21st Century, The National Museum of Modern Art, Tokyo |
| 2004 | Sculpture on the Desk, Contemporary Art NIKI, Tokyo KAKUCHO SURU BIJUTSU, TSUKUBA 2004, Tsukuba Museum of Art, Ibaraki |
| 2003 | Craft Artists in Contemporary Japan: New Perspective, Contemporary Art NIKI, Tokyo |
| 2017 | Grand Prix, Tansuio Award, The Satoh Artcraft Research and Scholarship Foundation |
| 2016 | Kikuchi Kanjitsu Award, Contemporary Japanese Crafts, Mousé Tomo Takashimaya Art Awawrd |
| 2008 | Highest Honors, KANAGAWA Art Exhibition |
| 2004 | Encouragement Award, 11th Japan Art Foundation |
| 2001 | Kumamoto Broadcast Award, KUMANICHI Sogo Bijutsu 21st Century Art Exhibition |
Observation is very important in the execution of my work because careful observation allows me to confront and understand the materials I use as well as my own inner self as an artist.
I create iron sculptures by welding and fusion cutting the most common techniques for ironwork. However, as I work I try to carefully observe the phenomena of fusion, solidification or deformation in the welding and fusion cutting processes. For example, when the iron sheet is heated and melted by a gas torch, small iron drops fall from the sheet and pile up on the bottom tray, or they can be solidified in water. These are normally considered waste, but I have found that their varied shapes and textures are interesting when applied to other surfaces, as well as for creating forms. While I create the form and texture with those fragments, the material tells me what the next step is, and in this way my forms gradually grow. These ‘conversations’ I have with materials give me new inspirations. This is the way I create the forms of my sculptures.
In the beginning of my career as a metal artist, I was fascinated by the expressive effects that occur on iron by welding and fusion cutting. Then I began experimenting with various techniques in order to create unique and interesting surfaces. Those experiments led me to my current style of execution of my work.
As my work has progressed I realize that when my self-identity is intertwined with the natural properties of iron, new relationships with the material develop, and I can create more innovative textures and forms. It’s almost as if I share some secret of discovery with the material, and that is very exciting for me. It seems like I share some secret discovery with the material and it is a very exciting moment for me.
I’m always asking myself if I have the sensitivity to maintain this relationship with my materials. I realize that I must listen to the inner ‘voice’ of the material, but I must also listen carefully to my own inner voice if I want to really capture the appeal of the material as I have come to understand and appreciate it. This is to me very challenging, and that is why I always put the word “Observation” at my side.
| 2020 | Paper: Expressions by Fusing and Welding, Tama Art University Bulletin 33 issue |