liminal traceries of a gleam
Between the emerged and the submerged, organic entities continually appear only to disappear. The surface of the ocean pierced by rocks, the stretches of sand dotted with plants, roots surfacing from the earth, bamboo shoots emerging between the canes, the intricate textures of forest bark, all these surfaces reveal just enough to feed the imagination of their hidden continuities.
This liminal space, between depth and horizon, shadow and light, opacity and transparency, traces blurred lines where the visible and the sensory converge.
Its interactions are revealed through a surface-based exploration where embossing and imprinting intertwine, blending organic and mineral materials (Kozo, bamboo, and copper).
Successive layers of washi envelop the drawings of bamboo strips, retracing the organic lines of the ancient cedar trees of Sado Island and the reflections of the Niigata ocean. The copper leaf accompanies the interlacing bamboo, like roots, embossing and piercing the surface.
Thus, through transparency, shadow, or reflections, the emerged and the submerged merge within a diaphanous liminal space.
These pieces are inspired by traditional Japanese techniques used for fans, lanterns, and umbrellas, with the subtlety that the bamboo strips are directly integrated into the washi-making process. This was made possible thanks to the support of Mr. Tanaka, a local washi craftsman whose production process only involves plant-based materials.
The copper and bamboo pieces were created in close collaboration with Ayaka Uchiyama-Vergain, a metalwork artisan and artist specializing in chasing and repoussé. The surfaces resulting from this collaboration are naturally colored using the traditional Sanjo blue technique.
This research project was supported by the Artist en Residence Sping Invitation Program of Yui Port in Niigata, Japan.
Bamboo, copper, washi, 2025
