FUKUMOTO Shigeki
| 1989-15 | Professor of Osaka University of Arts |
| 1970 | M.F.A., Kyoto City University of Arts, Kyoto |
| 1968 | B.F.A., Kyoto City University of Arts, Kyoto |
Solo Exhibitions
| 2018 | In Commemoration of the Publication of TO DYE, PERCHANCE TO DREAM, FUKUMOTO SHIGEKI: COLLECTED WORKS 1983 - 2017(tankosha 2017), Chushin Art Museum, Kyoto |
| 2017 | ARTCOURT Gallery, Osaka |
| 2016 | The Museum of Kyoto
Gallery Keifu, Kyoto ('04) |
| Shredded Message: Cloth Inlay/ Mosaic, Keiko Art International | |
| 2011 | NOHOHON: Book Art by Fukumoto Shigeki, Senbikiya Gallery, Tokyo |
| 2010 | Book Art by Fukumoto Shigeki, Gallery Aoi-Kaze, Kyoto |
| Book Art by Fukumoto Shigeki, Library of Osaka University of Arts, Osaka | |
| 2009 | ROZOME, Cloth Inlay and Book Biding, Blanche Ikeda, Osaka |
| 2007 | Gallery Haku, Osaka (also in '05) |
| 2004 | Wacoal Ginza Art Space, Tokyo |
| 2003 | Toyonaka City Gallery, Toyonaka |
| 2002 | Chushin Oike Gallery, Kyoto |
| 1996 | Aoyama Green Gallery, Tokyo |
| 1995 | Orie Gallery, Tokyo |
| 1994 | Senbikiya Gallery, Tokyo |
| Studio COM, kyoto | |
| 1992 | HASEKO Gallery, Tokyo |
| Kyoto Brighton Hotel Annex Gallery, Kyoto | |
| 1991 | The Azabu Museum of Arts and Crafts, Tokyo |
| Gallery Maronie, Kyoto (also in '84, '83) | |
| Gallery KURANUKI, Osaka | |
| Gallery Muu, Kyoto | |
| Senbikiya Gallery, Tokyo | |
| 1989 | Tanakaya Gallery, Aomori |
| Ikeda City Gallery, Tokyo | |
| Heart and Art Dream, Hyougo | |
| 1988 | Nihonbashi Takashimaya Tapestry Gallery, Tokyo |
| Wacoal Ginza Art Space, Tokyo | |
| Senbikiya Gallery, Tokyo | |
| 1987 | Tsukashin Seibu Craft Salon, Hyougo |
| Yao Seibu Arts Gallery, Osaka | |
| 1986 | Orie Gallery, Tokyo |
| Senbikiya Gallery, Tokyo | |
| Gallery Nakamura, Kyoto | |
| 1985 | Ina Gallery 2, Tokyo |
| Gallery Ten, Tokyo | |
| Juraku Craft-kan, Kyoto ('84) |
*Numerous exhibitions were held around the world.
Group Exhibitions
| 2018 | Binding threads / Expanding Threads, The Art of Creating "Between-ness", Hiroshima City Museum of Contemporary Art |
| 2017 | The Box Project: Uncommon Threads, Racine Art Museum, WI, Textile Museum, Washington DC |
| 2016 | IKI SUI, Seiryu-kan, Kyoto |
| Essence of Rimpa Appearing in Japanese Painting Circles in Kyoto - Humor and Wit -, Kyoto Prefectural Insho-Domoto Museum of Arts, Kyoto | |
| 2015 | Essence of Rimpa Appearing in Japanese Painting Circles in Kyoto - Humor and Wit -, Kyoto Prefectural Insho-Domoto Museum of Arts, Kyoto |
| Emba Awards- Past and Present, UENO Memorial Museum, Tanba City, Kyoto | |
| 2014 | Creation from HAIKU: calligraphy and Deying, Seiryu-kan, Kyoto |
| 8th International Fiber Art Biennale, Nantong, China | |
| 2013 | Maestros of Contemporay KOGEI, Tanabe City Museum of Art, Wakayama |
| Function and Expression in Dyeing and Weaving: Japan and Polan, Cheongju, International Biennale, S.Korea | |
| Contemporary KOGEI Styles in Japan, Morikami Museum and Japanese Garden, FL, U.S.A. | |
| New Acquisitions, Museum of Fine Arts Boston, MA, U.S.A. | |
| 2012 | Beyond a thread – Hands working the fabric of life, Fukuoka Prefectural Museum of Art |
| GIAPPONE TERRA DI INCANTI, Palazzo Pitti, Firenze | |
| 2011 | The Contemporary SOMÉ: FUKUMOTO Shigeki and FUKUMOTO Shihoko, Tamba Municipal Art Museum |
| STREAMING: from Textile to Clay, KEIKO Gallery, Boston | |
| 2010 | The History of Modern Dyeing, Tsukuba Museum of Art |
| 2009 | Pearls of arts in Kyoto, Chusin Art Museum, Kyoto |
| 2008 | Art Fair Tokyo, Tokyo |
| Hanayagi no Katachi, TAKASHIMAYA, Art Gallery X, Tokyo | |
| SOFA Chicago (also in '07, '06) | |
| 2007 | Blue Wind Group Show for 26 artists, Gallery Aoi-Kaze SOME-RIMPA, Seiryukan, Kyoto |
| Japan Month in Houston, Art Exhibition, contemporary Japanese Arts and Crafts | |
| There is Life After SOFA, KEIKO Gallery, MA | |
| SOFA New York | |
| Contemporary Japanese Textiles and Metalworks: From Material and Artistry to Forms, Tukuba Museum of Art, Ibaraki | |
| Azabu Juban Art Textile—Textile works by 30 artists, Tokyo | |
| Museum Collections of Modern Art—Craft and Photography, Kyoto National Museum, Kyoto | |
| The explorers of beauty, Osaka University of Arts Faculty Exhibition, Art Court Gallery, Osaka | |
| 4th International Fiber Art Biennale (Suzhou), China | |
| Modern Dying—SOME.SEIRYUTEN: Footsteps for Fifteen Years, Seiryukan, Kyoto | |
| Chusin art foudation 20th anniversary, The Museum of Kyoto, Kyoto | |
| 2005 | Japanese Rozome Masters, Boston / Washington D.C. / Seattle |
| Rozome Masters From Kyoto, Massachusetts College of Art Boston, MA / KEIKO Gallery, MA | |
| 2004 | Siryukai Dye Works Exhibition ('91–'03) |
| RIMPA, The National Museum of Modern Art, Tokyo | |
| From Lausannne to Beijing—3rd International Fiber Art Biennale, Shanghai | |
| Hyogo International Competition of Painting, Hyogo Prefectural Museum of Art, Kobe | |
| 2003 | BATIK exhibition 2003, Museum voor Industriele Archelogie en Textiel, Gent, Germany |
| BATIK—Widening the Perspective, Galerie Smend, Cologne, Germany | |
| 2002 | Contemporary Japanese Crafts—Materials and Way of Formative Thinking Galeri Petronas, Kuala Lumpur, Malaysia / The National Museum, Jakarta |
| From Lausannne to Beijing—International Tapestry Art Biennale, Beijing, China | |
| 2001 | Cheongju International Craft Biennale 2001, Cheongju, China |
| Crafts in Kyoto [1945-2000], The National Museum of Modern Art, Kyoto / Tokyo | |
| Contemporary Textiles—Weaving and Dyeing: Way of Formative Thinking, The National Museum of Modern Art, Tokyo | |
| 2000 | Osaka Vision 21, Osaka |
| 1999 | 50 MAITRES—Le arts appliques dans le Japon contemporain,—Espace des arts, Mitsukoshi Etoile, Paris |
| The Genealogy of Craft Objects, The National Museum of Modern Art, Tokyo | |
| Beyond the Sea; Song, Burm-Soo and Fukumoto Shigeki Dual Exhibition' ll-Min Museum, Seoul, Korea / ABC Gallery, Osaka / The Museum of Kyoto, Kyoto | |
| 1998 | HOT WAX! Fukumoto and Dyrenforth, Leading East/West Batik Artists, Studio COM., Kyoto / Sembikiya Gallery, Tokyo |
| 1997 | International Batick Exhibition and Seminar, Anshun, China |
| 1997 | Dunia Batik Conference and Exhibition, Yogyakarta, Indonesia / ABC Art Concours, ABC Gallery, Osaka ('86–'96) |
| 1995 | Japan Studio Crafts: Tradition and the Avant-Garde, V&A Museum, London |
| 1994 | Contemporary Textile Design–Dyeing, The National Museum of Art, Osaka |
| Contemporary Stencil Dyeing and Printing—The Repetition of Patterns, Craft Gallery, Tokyo / The National Museumn of Modern Art, Tokyo | |
| 1993 | International Triennial Competition of Painting, Osaka ('90) |
| 1993 | New Departures—An International Exhibition of Wax Resist Art, Edwin's Gallery, Jakarta, Indonesia |
| Small Works in Fiber, Cleveland Museum of Art, Cleveland | |
| CETRA Exhibition Hall, Taipei, Thailand | |
| Taipei International Exhibition of Traditional Arts and Crafts 1993, Taipei, Thailand | |
| 1992 | 7th International Triennale of Tapestry, Lodz, Poland |
| 15th International Lausannne Biennial, Lausanne, Switzerland | |
| Exhibition of Modern Best Art ('87–'91) | |
| Exposition “France-Japan”, Grand Palais, Paris('84–'91) | |
| 1987 | 13th International Biennial of Tapestry, Lausanne, Switzerland |
| 1984 | 38th Kyoto Prefectural Arts and Crafts Exhibition, Kyoto |
| 1983 | Kyoto Art Exhibition, Kyoto |
*Numerous exhibitions were held around the world.
| 2008 | Award for artwork, The Japan Society of Design |
| 2002 | Outstanding Performance Award, International Fiber Tapestry Art Biennale, Beijing |
| 2001 | Invited Artists Prize, Cheongju International Craft Biennale 2001, Korea |
| 2000 | Grand Prize, Osaka Vision 21 (painted on folding screens), Osaka |
| 1992 | Awarded six times, Exposition “France-Japan”, Grand Palais, Paris ('84–'92) |
| 1991 | Grand Prize, Exhibition of Modern Best Art |
| 1990 | Bronze Prize, International Triennial Competition of Painting, Osaka |
| Grand Prize, ABC Art Concours, ABC Gallery, Osaka | |
| 1988 | Emba Museum Prize, Exhibition of Modern Best Art |
| 1984 | Grand Prize, 38th Kyoto Prefectural Arts & Crafts Exhibition, Kyoto |
| 1983 | Mayor's Award / Grand Prize, Kyoto Art Exhibition, Kyoto |
- Costen Foundation for Academic Research, Los Angeles
- The National Museum of Modern Art，Tokyo
- Museum of Fine Arts, Boston
- The Cleveland Museum of Art, Cleveland, U.S.A.
- Il-min Museum, Seoul, Korea
- The National Museum of Modern Art, Kyoto
- The Museum of Kyoto, Kyoto
- Osaka Foundation of Culture, Osaka
- Osaka 21st Century Association, Osaka
- Kyushu Sangyo University, Fukuoka
- The Chushin Art Foundation, Kyoto
- Hikami-cho Museum, Hyougo
- Kameoka City Hall, Kyoto
- Kusatsu City Hall, Gunma
- Seiryukan, Kyoto
| 2017 | To Dye, Perchance to Dream, Fukumoto Shigeki: Collected Works 1983-2017 |
| 2016 | Urges/ Urgings (susume), Notes on a Theory of the Art of Japanese Dyeing (SOMÉ) |
| 2007 | The Technical Arts Hold Excitement in the 21st Century |
| 1998 | FUKUMOTO SHIGEKI: Rozome—Collected Works 1981–1988 |
| 1996 | Japan and the Art of Dyeing |
| 1994 | The Traditional Pottery of Oseania |
| 1988 | Shigeki Fukumoto: Roketsuzome—Collected Works 1981–1988 |
| 1985 | The Fantastic Costume art of Oceania |
| 1976 | Melamesian Art |
My signature style, cloth inlay mosaic, was developed around 1992 without any particular concept, and only as just an experiment. Until then, I had been dyeing only large pieces of fabric, and felt that cutting them into pieces was taboo.
However, I realized that if I employed a very old, traditional technique used in mounting scroll painting--which involves applying thin Japanese washi (paper) as a backing--then I could shred the fabric and easily reassemble these pieces into a new format. This technique prevents the fabric from fraying. And if then another layer of backing is applied to the reassembled pieces it is possible to cut the reassembled fabric at a different angle. Consequently, repeating this process makes it possible to create incredibly complicated geometrical patterns, like a mosaic.
This technique allowed me to create works of art that were innovative—cloth inlay mosaic. It is almost impossible to employ this technique with other materials, and I think this makes my cloth inlay very special. There have been times when I thought I should not continue working on such time consuming pieces, but my fascination with cloth inlay mosaic has now continued for more than twenty years, and I continue to discover new stages as I explore this technique.
I confess I am a very impulsive person, and I think this makes it possible for me to continue to work in this very tedious manner because I am always in a hurry to discover the end of a task that is endless.