RUSU Aki works RUSU Aki works RUSU Aki works RUSU Aki works RUSU Aki works RUSU Aki works RUSU Aki works RUSU Aki works RUSU Aki works RUSU Aki works RUSU Aki works RUSU Aki works RUSU Aki works
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