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Towards the last two months of my last visit to India in the spring of 2012, I encountered the Tibetan community in exile in India experiencing painful news of their people self-immolating in fire one after another in China-occupied Tibet. My experiences in the past visits in India (drawing a cremation site in Varanasi, documenting fire pits, cremation alters, and contemplating on life and death around fire) synchronized with this particular movement, an extreme way of ‘offering’ their bodies to ‘fire’ for asking freedom and peace.I could not help drawing large and small drawings as emotional response and with a sense of mourning.

After coming back to Vancouver, the self-immolation kept happening and I felt that my personal and professional task is not finished.

I have come back to India to continue to document and draw under the same theme. tomoyoihaya@hotmail.com

28 October 2022

Exhibition "After a Dark Night - through darkness, water remembers' @ Hsinchu Railway Art Village in Hsinchu city, Taiwan


 ‘After a Dark a Night - Throw Darkness, Water Remembers
From October 25 to November 13  2022Opening: October 30th at 14:00Workshop: November 5 at 14:00 to 16:00(Mixed media painting and paper flower making)

The exhibition consists of a new body of mixed media installation and drawings. In addition, there will be a body of original drawings that were shown at Ho Tam Press's News Room in Vancouver early summer in 2022. Please see the statement in English at the of this post if you have time and interest.)

Artist acknowledges support from Canada Council for the Arts, Hsinchu City Cultural Bureau, and ACCTON Arts Foundation. 
「暗闇を流れる水の記憶」

展示期間:10月25日−11月13日

新竹鉄道アートビレッジ

オープニング:10月30日 14:00ワークショップ: 11月5日 14:00 to 16:00 (ミックスト・メディアの小作品と紙の花をつくる予定)中文⬇開幕: 十月三十日 14:00工作坊:十一月五日14:00 to 16:00

井早智代個展來了,今起限定20天,就在新竹鐵道藝術村。這次展出作品涵蓋近10年來,她針對自焚藏人、慰安婦、民運、難民和船民所做的紀錄。度過充滿祝福的下午,每次都能透過她扎實的作品靜心,獲得力量與療癒,然後繼續前進。本週末有開幕活動,緊接著就是工作坊,值得期待。以下為展覽資訊:https://fb.me/e/3F4DW7R0z展覽名稱|暗夜過後 Through Darkness, Water Remembers |井早智代個展展覽地點|新竹市鐵道藝術村-人文休憩區展覽日期|2022年10月25日(二)- 2022年11月13日(日)開幕日期|2022年10月30日(日)下午2:00▎節錄自藝術家展覽自述 ▎(全文請見此連結:https://reurl.cc/2m1q1X)展覽的計畫緣起,始於我2017-2019年間走訪了台灣和韓國。2019年我獲得一個機會,以兩國的歷史悲劇、人權迫害、自由民主等議題來創作並展出。這些議題包含台灣於1947-1987年間發生的228事件、白色恐怖,以及1980年的韓國光州民主化運動。而2019年的展出機會,又是因為我從2012年起,持續不斷以西藏人權議題所創作的系列「來自德蘭薩拉的圖畫」相互連結。------------當你忘記時,我迷足黑暗。當你原諒時,我自由如水。手足,手足,手足,當我們記起時,我們相聚相依。編號,編號,編號,當我們遺忘時,我們支離破碎。節錄自zine 《路徑 volume 6 》賴雯淑 詩作《原諒是為了給予,遺忘是為了拿取》------------我們可以為這些受到傷害的人和地球上的大家所做的,即是記住他們並把他們放在心上,以不同的形式把他們的故事傳承下去。即便這次的展覽是我這兩年創作的最後一次呈現,但它距離完整還差距甚遠。我做的田野調查以及資料查閱,都僅是水池中的一瓢水。如果,每一個人包含我自己可以不斷去承認、表達,向世界的傷痛伸出援手,那我們就可以把稱之為希望的容器填滿。|工作坊|井早智代的正念創作工作坊 – 路徑,走過百川時間|2022/11/5 (六) 14:00-16:00地點|新竹市鐵道藝術村人數|10人,歡迎10歲以上的朋友報名參加費用|本活動智邦藝術基金會贊助,免費參加材料|主辦方會提供紙張、基本水彩顏料、筆刷和膠水;歡迎參與者也自備自己喜歡的材料▎工作坊介紹 ▎綜觀人類歷史和當下,世界各地不管是因為來自外部還是內在勢力,侵犯人權、暴力和虐待等行為不斷上演。此時此刻,世界因強烈的貪婪而混亂,許多人感到不知所措、絕望和心碎。為什麼我們破壞和傷害同胞,而不是和平共處並尊重彼此的文化?我們需要找到方法來平息和平靜思緒,敞開心扉,作為對世界的回應。世界上還有很多美麗的事物和心靈,值得我們把它發展得更深更廣;而或許用正念來創作藝術就是方法之一。這場工作坊我們把重點放在和內心自己及工作坊的參與者對話;嘗試討論「和解、療癒、同理和永續」。我們將會一起完成3件事1. 短暫靜默冥想,為彼此祝福 (不帶有任何宗教色彩)2. 一起用水彩、剪貼、縫紉的方式創作一張小作品3. 一起製作小紙花(如同上次展覽上的展出作品)工作坊的參與者最後可以將作品和小紙花帶回家。▎藝術家簡介 ▎井早智代出身於日本三重縣,目前定居於加拿大溫哥華,她從2000年開始獲得加拿大的永久居留證。井早智代的作品曾在南韓、臺灣、泰國、日本、印度、墨西哥、加拿大和美國展出,並同時包含國內外的公共或私有藝術收藏。她也曾參與過許多垮國駐村計畫並榮獲加拿大國家藝術委員會、英屬哥倫比亞藝術委員會的獎金支持。井早畢業於東京的立教大學(Rikkyo University),並有著加拿大亞伯達阿爾伯塔大學(University of Alberta)的碩士學位。➤AAF智邦藝術基金會 |https://aafoundation.tw/➤新竹市鐵道藝術村|新竹市東區花園街64號➤營業時間 | 10:00~18:00(週一休館)➤電話 | 03 562 8933
(caption written by YoYo, thank you~~brother)

copyright tomoyoihaya2022
               copyright tomoyo ihaya

Through Darkness, Water Remembers                                        Tomoyo Ihaya 

 

This exhibition is the second phase of what was shown at Hsinchu Railway Warehouse in the beginning of 2022. I could not enter Taiwan so after a discussion with the director of ACCTON Arts Foundation, Yu-hsuan Lee, we decided to present the works in progress without my presence, and later to exhibit more developed works when I could enter Taiwan and produce additional art works on site.  

 

The initial inspiration to start on this project came during and after my visits to  

Taiwan and Korea between 2017 and 2019.  In 2019, I was given the opportunities to create and exhibit works on both countries’ tragic history and struggle for human rights and democratic freedom, such as the 228 Incident and White Terror in Taiwan from 1947 to 1987 and the democratic uprising in Gwangju, Korea in 1980. These opportunities resulted from a similar series of works ‘Drawings from Dharamsala’ that I have produced, since 2012, on Tibetan human rights issues.  

 

During my visits, I met many women friends who devoted their lives to social activism. A few of them experienced the deaths of loved ones during struggles for democracy and freedom in both countries. 

 

Another significant  encounter was with a statue of a girl, which I passed by daily on the way to the Gallery during my residency and exhibition in Gwangju, Republic of Korea. It was built as a memorial for ‘comfort women’ victims during the Japanese colonization.  I gazed at her face many times and felt heavy about what complex sufferings the military government then of my country caused.  

 

These meetings inspired me to make a body of works about ‘women’. I hoped to make something that was not politically biased but that expressed forms of ‘feeling pain and wishing for reconciliation’ as a fellow woman.  

____ 

 

In addition, since the beginning of this year, my thoughts have extended to other parts of the world and histories, because, at the present moment, wars, violent oppression, human trafficking, revealed cultural genocides, refugee crisis, protests against injustice, and natural catastrophes are happening simultaneously.   

 

I see many faces in the news, which are shedding tears and distressed.  

 

I read stories of killing and deaths.  

 

I imagine fellow women who were swallowed by the power, greed, and discrimination in the past and overlap their faces with those faces who are suffering at this moment.

  

The past, which is not fully resolved and in which many have died without getting justice and reconciliation, is not the past.   

What we witness now in the world is continuum of the past. 

 

We are members, Not Numbers 

 

When you for-get, I am lost in the dark. 

When you for-give, I am free like water. 

Member,member, member, we are together when we re-member. 

Number, number, number, we are divided when we dis-remember.  

 

(Excerpt from For-giving, for-getting by Wen-Shu Wendy Lai, Vol 6 of Paths, 2021) 

 

Remembering and carrying them in our hearts through different means of expressions arewhat we can do for them and for all of us living on this earth.  

 

Although this exhibition is the final presentation of what I have been working on for two years, it is far from complete.  The field trips and reading that I have done are just a little scoop of water from the pool.   However, if many other people including myself can keep acknowledging, expressing, and reaching hands further to the wounds of the world, water gets full in the vessel called hope for the future.