In recent years, I have been creating works by firstpainting one large flower on multiple fabric-covered panels and

then repositioning them. By doing so, I have concentratedon conveying new expressions in the flower: the vitality of each

part and the beauty of its presence.

Also, by exhibiting a combination of works created with the sameconcept and arranging the panels throughout the display, I created an installation where the dimensions of the worktransformed from that of one work to the whole wall and the wall to the whole space.

Quadrilaterals in sequence or in a parallel movement arecommonly seen in a Japanese house. Joineries are shifted in parallel when people or things enter or exit a space, such asin the "fusuma" (Japanese sliding doors: patterns or picturesare drawn on a large rectangular surface), and the "shoji"(translucent wooden fittings; with "washi" or Japanese paper fitted into rectangular wooden frames). In a Japanese roomwith an alcove, it is also natural to have a hanging scroll presentingvarious quadrilaterals.

In addition, traditional Japanese patterns such as the "ichimatsu"pattern (squares are repeated alternately to compose a pattern)and gold leaf leaves pasted onto classic paintings are alsoquadrilateral. On reflection of my childhood, it may be natural that I developed interest in moving quadrilaterals and quadrilateralsthemselves. I was brought up in a Japanese home, surrounded by“fusumas” and “shojis”, where kimono sellers would oftenvisit with traditionally patterned kimonos; a rare scene in modern Japan.

I hope many people will find my works interesting.　　　　　

Kayako Takenaka