NISHIMURA Yuko
| Present | Individual Artist along with working for Origata Design Institute |
| 2006 | Graduated from Master program in Design, Art Department, Tsukuba University |
| 2001-03 | Assistant, Art Department, Nihon University |
| 2001 | Graduated from Architectural Design program, School of Arts, Nihon University, Tokyo Japan |
Solo Exhibitions
| 2014 | Folded Light, Folded Shadow, Keiko Art International |
| 2010 | Small Works, KEIKO Gallery, Boston MA |
| 2008 | Folded Light, Folded Shadow, Fuller Craft Museum, Brockton, MA |
| 2007 | The Arts of Folding, KEIKO Gallery, Boston MA Folded Form, Mori Hanae Foundation-Open Gallery, Omote-sando, Tokyo |
| 2005 | Gallery b. Tokyo |
Group Exhibitions
| 2017 | Above the Folding: New Expressions in Origami, Dayton Art Institute, Ohio, U.S.A |
| 2016 | Above the Folding: New Expressions in Origami, Japanese American National Museum, Los Angeles, U.S.A. |
| 2015 | Above the Folding: New Expressions in Origami, D'Amour Museum of Fine Arts, Springfield, MA, U.S.A. Nippon! Contemporary Arts and Crafts from Japan, ESH Gallery, Milan, Italy Dialogue with Materials: Contemporary Japanese Arts an Crafts, Anadolu University, Eskisehir, Turkey |
| 2014 | Dialogue with Materials: Contemporary Japanese Arts an Crafts, Ahmed Adnen Saygun Sanat Merkezi, Izmir, Turkey |
| 2013 | SOFIA International Paper Art Biennale PAPER, Meguro Museum of Art, Tokyo |
| 2009 | Group Exhibition, Made by Hand: Hanae Mori and Young Artists, Contemporary Art Center-Art Tower Mito SOFA New York (’08, ’07) |
| 2008 | SOFA Chicago (’07, ’06) |
| 2007 | Japan Month in Houston: Contemporary Japanese Arts and Crafts It’s all in the fold: more than just origami , Columbia College Chicago, Center for Book & Paper Art |
| 2005 | Space with Shapes, Tsukuba University Annex Hall |
| 2004 | Composition MC Exhibition, Tsukuba University Annex Hall (also '05) Invited artist for Survey for Tomorrow: Modern Art Works of Excellence Exhibition, Saitama Prefectural Museum of Modern Art, Saitama New Year’s Tea Ceremony, Tokyo Art Club (2005, 2006) |
| 2003 | Exhibited panels, Japan Design Association 50th Anniversary Symposium Exhibited panels, Asia Design Association |
| 2001 | Japan Institute of Architecture (JIA) Graduation Exhibition, “C-Point,” Aomori THE FUNITURE SHOW” Birmingham, England |
| 2006 | Tsukuba University Art Award |
| 2005 | The 54th Modern Art Exhibition, Tokyo Prefectural Museum, Tokyo (also 2004) |
| 2001 | Nihon University School of Arts President Award, Nihon University Graduation Exhibition |
- Museum of Fine Arts, Boston MA
- Coventry in Fort Washington, PA
- Palace Hotel, Tokyo
- Sheraton Guagzjpi Huadu, China
- The Ritz-Carlton, Kyoto
- Ritz-Carlton Hotel, Kyoto
- Briitania, Cruse ship
- Conrad Hotel Osaka
- Mikimoto Pearl (Show Window Display: Ginza, 2013
- Shiseido Shiodome Building, Show Window Display, Tokyo 2018
Creating three-dimensional concrete forms by folding one piece of paper is traditional Japanese origami, and I use this essential ‘folding’ technique in my work. However I create large scale paper relief sculptures composed of narrow pleats that are made by repetitive creasing and folding, which result in accordion folds. Consequently my pieces are both two-dimensional and three-dimensional in form. These basic accordion patterns are altered by introducing different curves to each fold which change the angles of the patterns and by changing the lengths of the basic folds. These changes produce patterns that become very complex and that create a very different overall surface design. The effect created by the shapes of the ‘mountain-folds’ and ‘valley-folds’ represent, for me, the boundaries between light and shadow in the universe - my own form of chiaroscuro - which I am obsessed to express.
I am very particular about using white paper because white washi, traditional Japanese hand made paper, has special significance for Japanese people. For example, one piece of kaishi (small folded squares of washi used by guests in the tea ceremony) placed on the tatami mat floor is an immaculate space for placing sweets for the guests. I want to invoke this sense of the distinctive purity of white paper that is so much a part of Japanese culture.
Japanese people perform the act of folding unconsciously in daily life because it is a practical form of ‘compacting’- such as in folding screens, folded kimomos, beautifully folded money holders, shide (folded zigzag-shaped paper streamers often used to adorn Shinto-related objects), the famous origami paper cranes, etc. In Japan many of these folding traditions derive from someone’s happiness or the hope for good fortune. I have also realized that the similarity between the Japanese words 折 (fold), and 祈 (pray), and the words 誓 (pledge) and 哲 (philosopher) all embed the character 折 (fold). There is a no clear evidence that there is a connection between folding and praying, but it is hard to assume that this is a mere coincidence. After realizing these connections, I think that folding is not only a practical act, but is also related to praying.
Because I believe that these ordinary practices and forms that have been handed down through the centuries have deeper and hidden meanings, I like to think that my work represents a synthesis of our culture and our art.