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Fujiko Shiraga

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Fujiko Shiraga (白髪富士子 Shiraga Fujiko, born Uemura Fujiko, 1928–2015) was a Japanese avant-garde artist and one of the earliest female members of the Gutai Art Association.[1] Active as an artist between the early 1950s and 1961, Shiraga was known for creating highly tactile artworks by pasting and creasing sheets of torn Japanese paper.[1] Since last decade, Shiraga's works have received growing art-historical attention. Her paper works, paintings, and installations were featured in major Western exhibitions on Gutai art and two posthumous retrospectives.

Biography

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Born in 1928, Shiraga was the second daughter of a family that ran a watch store in Osaka, Japan.[2] She studied tsuzumi (Japanese hand drum) under the influence of her mother's interest in Noh music.[1]

Although she received little formal fine arts training, Shiraga began making art after marrying Kazuo Shiraga in 1948 at the age of 20.[1] In 1952, She joined Zero Society (Zero-kai), an art collective founded by Kazuo and other artists including Murakami Saburō, Atsuko Tanaka, and Akira Kanayama.[3][4]

Around June 1955, together with other members of Zero Society, Shiraga joined Gutai Art Association.[5][6] In July 1955, Shiraga created installation White Plank for the "Experimental Outdoor Exhibition of Modern Art to Challenge the Midsummer Sun" mounted by Gutai and Ashiya City Artists Association (Ashiya-shi Bijutsu Kyōkai) at a park on the bank of Ashiya River, Hyogo, Japan [1][6]

From 1955 to 1960, Shiraga actively contributed her works to Gutai's exhibitions and events. She created unique hanging scrolls and paper canvases using torn Japanese washi paper.[1] She wrinkled, tore, and glued the paper with rice paste to create texturized surfaces.[1] By creasing, layering, and occasionally piercing the paper sheets, Shiraga emphasized the objecthood and three-dimensionality of the thin paper, which had conventionally been seen as flat carriers of texts or images.[1]

In the late 1950s, Shiraga pushed her experiments with paper further. She sculpted sheets of paper to make large panels of abstract high reliefs that protruded from walls.[4][1] Shiraga also started to incorporate wax, glass, and fire to further diversify the surface texture of her works.[7][8][3] Echoing Gutai leader Yoshihara Jirō's call for Gutai art to "reveal the scream of matter itself", Shiraga highlighted the tactility and materiality of her artworks.[9]

Simultaneous to her artistic experiments, Shiraga published writings on her colleagues' and her own work in Gutai's journal, Gutai.[10][11] In a 1955 article 'About Myself Before and After the Outdoor Exhibition, she reflected on her first-time experience of creating artworks in the outdoor space of a public park.[10] Another article by Shiraga, published in 1956, described her encounter with Bell (1956), an interactive acoustic installation by her Gutai colleague Atsuko Tanaka.[11] Shiraga provided a detailed account of how Bell was experienced by its immediate audience and explicated her interpretation of the new relationship between art and viewers envisaged by the work.[11]

In 1961, Shiraga decided to quit artmaking to assist her husband Kazuo's artistic career.[3] She explained in a later interview that her intention was to help her husband to "pursue the road of painting with no distraction".[12] Albeit no longer making art by herself, Shiraga remained close to the Gutai community and continued to support Kazuo by preparing paints for his signature foot paintings and advising him on colors and when to stop.[3] Recent scholarship has suggested that Shiraga's contribution to Kazuo's artistic career was more like a form of artistic collaboration and creative partnership rather than mere housekeeping assistance.[3][13]

Work

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White Plank (1955)

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In July 1955, Gutai held the "Experimental Outdoor Exhibition of Modern Art to Challenge the Midsummer Sun" in July 1955 at a public park on the bank of Ashiya River, Hyogo, Japan, in conjunction with Ashiya City Artists Association.[6] For this exhibition, Shiraga made White Plank by painting an eight-meter-long plank white and sawing it apart. The serpentine split in the middle of the plank resembled a long brushstroke.[1] Shiraga stated that she intended to create "an enormous crack in the empty sky" to "express that vast power which lies beyond human comprehension".[1] The motif of cracks and splits occurred repeatedly in her later paintings and washi paper works.

In an article published in the Gutai journal, she described her feelings when she first took White Plank to the site of the exhibition: "I was shocked and dumbfounded, feeling as if I had been hit on the head so hard that I almost fainted. How insignificant my work appeared. How obviously intentional it appeared to be. It radiated power that was neither limitless nor massive."[10]

Washi paper works

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Between 1955 and 1958, Shiraga used torn washi paper to created hanging scrolls and paper canvases. Devoid of visual imagery, the monochromatic works emphasized the texture and materiality of paper. In an interview, Shiraga commented on the unique texture of washi paper: "To begin with, I loved washi, that materiality, that texture. It's white, but not pure white. With a shade of beige, it's never pure white. This appealed to me. Its texture differs from crisp Western paper, too. Washi is soft. If you want, you can easily tear it."[12] Shiraga's paper works highlighted the physical interaction between her body and washi paper.

In the early 1960s, Shiraga started to incorporate oil paints, glass shards, and pieces of wood in her washi paper works. She also occasionally used fire to burn parts of the canvases. Shiraga confessed that she loved using "dangerous" materials like broken glass and fire.[12] The contrast between the soft, wrinkled paper and other hard materials highlighted the tactility of the canvases and created visual rhythm.[7]

Paintings and sculptures

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Several of Shiraga's paintings from the late 1950s consisted of vertical lines, which she created by letting paint to drip or flow down the canvases.[14][4] The blank canvases were split into parts by the lines, just like the wood plank of White Plank was sawn apart. Shiraga also made sculptures with cement blocks into which she dug vertical trenches and filled them with green paints.[14][15]

Selected exhibitions

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Work by Fujiko Shiraga has featured in:[citation needed]

Collections

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References

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  1. ^ a b c d e f g h i j k Yoshimoto, Midri. "Shiraga Fujiko: Straight to the Sky". Hand Papermaking. 35 (1 (summer 2020)): 2–8.
  2. ^ a b "尼崎市総合文化センター 白髪一雄記念室の展示一覧". 白髪一雄記念室 | 尼崎市総合文化センター (in Japanese). Retrieved 2021-01-30.
  3. ^ a b c d e Ikegami, Hiroko (October 27, 2015). "Fujiko Shiraga". Artforum International. Retrieved 2020-11-23.
  4. ^ a b c Gutai shiryoshu: Dokyumento Gutai, 1954–1972 /Document Gutai, 1954–1972 (Ashiya: Ashiya City Museum of Art and History, 1993), edited by Ashiya City Museum of Art and History
  5. ^ Westgeest, Helen (1997). Zen in the fifties: interaction in art between east and west (2nd ed.). Zwolle: Waanders Publishers. ISBN 90-400-9892-1. OCLC 38315901.
  6. ^ a b c Oyobe, Natsu. "Human Subjectivity and Confrontation with Materials in Japanese Art: Yoshihara Jiro and Early Years of the Gutai Art Association, 1947–1958." PhD diss., University of Michigan, 2005. https://deepblue.lib.umich.edu/handle/2027.42/125466
  7. ^ a b c "白髪富士子 無題｜Artrip Museum 大阪中之島美術館コレクション". www.nak-osaka.jp. Retrieved 2021-01-30.
  8. ^ a b "Untitled". The Art Institute of Chicago. Retrieved 2021-01-30.
  9. ^ Yoshihara, Jiro. "Gutai Art Manifesto, 1956." In From Postwar to Postmodern: Art in Japan 1945–1989, edited by Doryun Chong et al., 89–91. New York: The Museum of Modern Art, 2012.
  10. ^ a b c Shiraga, Fujiko, "Yagaiten zengo no watashi" [About Myself Before and After the Time of the Outdoor Exhibition] in Gutai, no 3 (1955): 23, translated and cited in Tiampo, Ming. "Gutai Chain: The Collective Spirit of Individualism". Positions, vol. 21, issue 2 (Spring 2013): 394.
  11. ^ a b c Shiraga, Fujiko, untitled review of Tanaka Atsuko's installation Bell (1956), Gutai, no 4 (1956), cited in Kato, Mizuho. "Atsuko Tanaka's 'Paintings', as Seen Through Work (Bell)." In Tanaka Atsuko: The Art of Connecting, edited by Jonathan Watkins and Mizuho Kato, 39–47. Birmingham: Ikon Gallery, 2011.
  12. ^ a b c "日本美術オーラル・ヒストリー・アーカイヴ/白髪一雄オーラル・ヒストリー". www.oralarthistory.org. Retrieved 2021-01-30.
  13. ^ "Namiko Kunimoto on Fujiko Shiraga (1928–2015)". www.artforum.com. Retrieved 2021-02-10.
  14. ^ a b c "Kazuo & Fujiko Shiraga | Fergus McCaffrey". Retrieved 2021-01-30.
  15. ^ a b "Sakuhin". The Art Institute of Chicago. Retrieved 2021-01-30.
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