Nana (a berceuse) for NANA
It is my belief that works of Nana Tamamoto are something more gcreatedh
than gpainted.h (I think this explains why I felt three-dimensional pieces like gTightness,h
which I saw at the personal exhibition venue, naturally fit in well with
other two-dimensional artworks. However, here I would like to
mention major tableaux of Tamamoto only.)
Her work is the composition of different fabrics and threads sewn on a
board, and various colors overpainted several times. Itfs hard to tell whether those forms are
concrete or symbolic. Examining
carefully with my eyes the texture of those materials intertwining with such
forms, and multilayered colors, I felt something which I couldnft explain well
arising in my heart. I presume I was sensing
glifeh which is unexplainable but surely exists, and has an organic
movement. I donft doubt that something
deep inside of Tamamotofs works is somehow connected with the richness and
depth of glife.h I believe Tamamotofs
own personal experience has affected them a lot.
However, what we
see on the outer layer of her works is not too realistic at all. It has never possibly happened that She
depicts her inner world just violently.
Instead, her works are like representations of a world of fairy stories
or fables full of imaginary shapes and colors.
I personally believe that it is this modulation from a deeper layer to
an outer layer that makes people appreciate Tamamotofs works. Also, this inevitably makes me wonder about
the act of gcreationh that enables such modulation.
It wonft be that
hard to imagine that Tamamoto spends a lot of time and energy on developing her
oeuvres. However, in my belief, the
process of creation and hand working could be the act of her cherishing herself
by objectifying her inner world and, say, her singing a berceuse to her own
soul, even if such a process is sometimes challenging. If not, had she really been able to complete
her collection that consumed lots of energy and time, and sometimes carries
serious messages, without any breakdowns?
Say she couldfve, but I imagine such a work would remain something only
hostile, something she depicted by just enlarging her inner world.
Ifve heard that
Tamamotofs works are more popular among women, and I stretch my imagination:
Nana (the berceuse) for Nana (Tamamoto) is now sung for every woman (gnanah)
and deeply resonating with each of them.
When I was told that Tamamotofs artworks would be exhibited in traditional
Japanese houses in Toyama Prefecture where she had been born, I felt so
happy for her because I was sure they would be the great cradle for her
and her works.
Her collection fits in best with places that have kept memories of
glifeh of people who lived there. I can
hear songs beautifully in resonance.
Curator, Tanabe City Museum of Art, Wakayama Prefecture