Rikako Kawauchi “Home like skin”
2022
oil on canvas, 51 x 76 inches (set of 2 canvases of 51.x 38 inches) (1303 x 1940 mm)
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Rikako Kawauchi “FAMILY”
2020
oil on canvas, 46 x 36 inches (1167 x 910 mm)
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Rikako Kawauchi “chase the sunset”
2021
oil on canvas, 46 x 36 inches (1167 x 910 mm)
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Rikako Kawauchi “making honey”
2023
oil on canvas, 29 x 36 inches (727 x 910 mm)
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Rikako Kawauchi “carrying the rainbow”
2023
oil on canvas, 29 x 24 inches (727 x 606 mm)
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Rikako Kawauchi “the Big Dipper”
2023
oil on canvas, 18 x 21 inches (455 x 530 mm)
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Rikako Kawauchi “everything”
2023
oil on canvas, 18 x 21 inches (455 x 530 mm)
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Rikako Kawauchi “a lot of blooms”
2021
oil on canvas, 15 x 18 inches (380 x 455 mm)
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Rikako Kawauchi “HE GOT HIS COLOR IN SWANP”
2021
oil on canvas, 15 x 18 inches (380 x 455 mm)
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Rikako Kawauchi “butt holes”
2022
oil on canvas, 18 x 15 inches (455 x 380 mm)
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Rikako Kawauchi “Ignite”
2021
oil on canvas, 18 x 15 inches (455 x 380 mm)
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Rikako Kawauchi “doughnut”
2022
oil on canvas, 10.7 x 8.6 inches (180 x 140 mm)
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Rikako Kawauchi “grow”
2022
wire and pin on panel, 25 x 16 x 5 inches (660 x 595 x 185 mm/ Framed)
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Rikako Kawauchi “Punch”
2022
wire and pin on panel, 16.5 x 20 x 7.8 inches (420 x 510 x 200 mm/ Framed)
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Rikako Kawauchi “can you see the inside?”
2023
watercolor and pencil on paper, 16 x 12.5 inches (318 x 410 mm)
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Rikako Kawauchi “my balls”
2022
watercolor and pencil on paper, 7 x 10 inches (182 x 257 mm)
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Rikako Kawauchi “Leaf”
2023
stone, 10 x 13 x 0.8 inches (360 x 260 x 30 mm)
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Asako Fujikura “A Pole at the bright parking lot”
2023
single channel video with sound, 6min. 18sec. (日本語) ビデオスチル
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Asako Fujikura “Clean water and long handrail on toilet floor”
2023
single channel video (loop), 8 inch monitor, media player, MDF/ Urethane coating, 6.5 x 8.0 x 11.8 inches (165 x 205 x 300 mm)
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Asako Fujikura “ The time when reflections appear across the rising up of these silver plates, and the arrangement of pink clouds becomes clearer”
2022
inkjet print mounted with acrylic, 7.9 x 9.8 inches (200 x 250 mm)
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Asako Fujikura “ Signs that the rope is creating shadows, just as this period of clarity is about to end”
2022
inkjet print mounted with acrylic, 7.9 x 9.8 inches (200 x 250 mm)
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Asako Fujikura “The proliferating balls have grown and the horizontal hanging wall is just about to reach the top of the movable sunrise”
2022
inkjet print mounted with acrylic, 7.9 x 9.8 inches (200 x 250 mm)
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Saori Miyake “Nowhere in Blue”
2023
single channel video, 20min., loop
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Saori Miyake “Blue print”
2023
Cyanotype on watercolor paper, 14.1 x 18.3 inches (360 x 465 mm)
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Saori Miyake “Blue print”
2023
Cyanotype on watercolor paper, 18.3 x 14.1 inches (465 x 360 mm)
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Saori Miyake “Untitled”
2021
Cyanotype on watercolor paper, 11.4 x 8 inches (290 x 205 mm)
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Saori Miyake “Untitled”
2021
Cyanotype on watercolor paper, 9 x 7 inches (230 x 180 mm)
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Saori Miyake “Untitled”
2021
Cyanotype on watercolor paper, 8.5 x 6 inches (217 x 153 mm)
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Saori Miyake “Untitled”
2021
Cyanotype on watercolor paper, 8.5 x 6 inches (217 x 153 mm)
Press release
WAITINGROOM is participating in the art fair, NADA Miami 2023, from Dec.5th-9th with the group presentation of Rikako Kawauchi, Asako Fujikura and Saori Miyake.
The theme of a group show is “Material Transformation”; showcasing new works by Rikako Kawauchi, whose practice has expanded from a 2 to 3D one using simple lines as a starting point; Asako Fujikura, whose landscapes emerge from meticulous research on actual places and 3D computer generated images; and Saori Miyake, whose unique practice shuttles between photography, photograms, and painting.
“Home like skin”, 2022, oil on canvas, 51 x 76 inches (1303 x 1940 mm)
Rikako Kawauchi
Born in Tokyo, Japan in 1990. Graduated from Tama Art University with the Master’s degree in 2017. Currently lives and works in Tokyo. Taking her interest in food as her starting point, her works are focused on the body and thought, self and others, the indistinctness of their boundaries, and the mythological world in which digestion, excretion, eating, and the body created from it are the starting points for the creation of the world. Her expressive methods range from drawing and painting to wire, rubber tubing, resin, neon tubes, and more. This presentation will feature three series: paintings with animal and plant motifs inspired by Lévi-Strauss’ analysis of myths, wire works featuring the human body as a motif, and stone sculptures, a new material that she added to her repertoire for the first time this year.
In 2014, while a student at Tama Art University, she received the Kenjiro Hosaka Award at the CAF ART AWARD 2014, a publicly-collected group exhibition, and in 2003 she received the SHISEIDO ART EGG Award (Grand Prize) at the Shiseido Art Egg, a program for up-and-coming artists. In 2009, she selected as a finalist for the “TERRADA ART AWARD 2021” and received the Yuki Terase Prize; in 2010, she received the VOCA Award, the grand prize, for the “VOCA Exhibition 2022: Prospects for Contemporary Art – New Artists on the Plane”. Recent exhibitions include a group exhibition “Body, Love, Gender” (2023, Gana Art Center, Seoul, Korea), a group exhibition “Arts Maebashi 10th Anniversary Exhibition: New Horizon—From History to the Future” (2023, Arts Maebashi, Gunma), a solo exhibition “The Voice of Soul” (2023, ERA GALLERY, Milan, Italy), a solo exhibition “human closely” (2023, Lurf MUSEUM, Tokyo), a solo exhibition “lines & colors” (2023, N&A Art SITE, Tokyo) and others. Her major collections include Aichi Prefectural Museum of Art, Aichi, Japan.
“The time when reflections appear across the rising up of these silver plates, and the arrangement of pink clouds becomes clearer”, 2022, inkjet print mounted with acrylic, 7.9 x 9.8 inches (200 x 250 mm)
Asako Fujikura
Born in 1992 in Saitama. Graduated from Tokyo University of Foreign Studies, School of Language and Culture Studies, Persian Language Program with Bachelor degree in 2016. Graduated from Tokyo University of the Arts, Department of Film and New Media, With Master’s degree in 2018. Focusing on the depth of the infrastructure that traverses urban and suburban areas and the landscapes attached to them, she mainly creates 3DCG animations that emphasize images with artificial textures and tactile qualities, and installations that bring the motifs in her videos into the real world. For this presentation at NADA, she will exhibit a new video work along with sculptural works with a built-in video.
Recent exhibitions include a group exhibition “MOT Annual 2023” (2023, Museum of Contemporary Art Tokyo, Tokyo) [as Unexistence Gallery (Iku Harada / Naoya Hirata / Asako Fujikura / yang02) ], “Energies in the Rural [Exhibition 2]” (2023, Aomori Contemporary Art Centre, Aomori), a group exhibition “Spread Distance / Convert Method / Variable Sun” (2022, Nihombashi Mitsukoshi Honten, Mitsukoshi Contemporary Gallery, Tokyo), a solo exhibition “Paradise for Free” (2021, Calm&Punk Gallery, Tokyo) and others. In 2022, Fujikura hosted the research project “Vanpool over the Clift In the Foreground” in Tokyo Bay. She was awarded Grand Prix “LUMINE meets ART AWARD 2020”. The project by Fujikura and Takahiro Omura was accepted into the Project to Support Emerging Media Arts Creators “Program for Japanese Creators with Exploratory Projects” in 2022.
“Blue print”, 2023, Cyanotype on watercolor paper, 18.3 x 14.1 inches (465 x 360 mm).
Saori Miyake
Born in 1975 in Gifu, Currently lives and works in Kyoto. Graduated from Master’s Degree Major in Faculty of Fine Arts at Kyoto City University of Arts in 2000. Miyake has been creating works using a technique called photogram, in which a light-shielding object is placed on photographic paper to make it photosensitive without using a camera. In recent years, she has been creating works in which photographs left behind by others are transcribed onto a transparent film that is then sensitized to light, giving a bodily presence to the “shadow of the painting,” so to speak. Miyake uses the term “pictorial image” to express the multilayered meanings of these images created through this sequence of gazes, in a certain sense. For this presentation, we will show a 2D cyanotype and a blue video work, in which black and white are inverted and colored with cyanotype blue.
Her recent exhibitions include a solo exhibition “Nowhere in Blue” (2023, WAITINGROOM, Tokyo), a solo exhibition “Artist in Museum AiM Vol.9 Saori MIYAKE” (2021, The Museum of Fine Arts, atelier, Gifu), a solo exhibition “Garden | POTSDAM” (2019, SPACE TGC, Tokyo), a solo exhibition “THE MISSING SHADE 3” (2018, WAITINGROOM, Tokyo), a solo exhibition “THE MISSING SHADE 2” (2017, SAI GALLERY / Osaka), a group exhibition “The Practice of Everyday Practice” (2021, Nagoya University of the Arts Art & Design Center / Aich), a group exhibition “Oku-Noto Triennale 2020+ A foremost art festival at the furthest edge of the world” (2021, Suzu city / Ishikawa), a group exhibition “MOT Annual 2019 Echo after Echo: Summoned Voices, New Shadows” (2019, Museum of Contemporary Art Tokyo /Tokyo),
“20th DOMANI: The Art of Tomorrow” (2018, The National Art Center, Special Exhibition Gallery 2E / Tokyo).
She has received the “The Kyoto Prefecture Culture Prize for Effort” in 2016, the “Sakuya -konohana award” in the Fine Arts category in 2013, “VOCA AWARD 2010” in 2010, and her works have been collected by the Museum of Contemporary Art Tokyo, Hyogo Prefectural Museum of Art, Kyoto City University of Arts, and Monblanc Japan, among others.
