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Burnt Teshima

Burnt Teshima






Against the times of regional vitalization, subsidy, and anti-homeless fine art,

our folkloric trend that approaches oral tradition or memories of war

constitutes a kind of sensible network of hippies, although it were also a kind of struggling at the edge for seeking support.


Also even in the times of dependent on foreign collectors or of store-led crafts,

my trend of fieldwork-ish depression-pottery on gathering/firing igneous/aqueous layers forms an illusion of Shikoku crafts that is miserable but guild-ish, sensible, physical game without money, and as a counter,

even if I were like an aborigine who had the sulks.


In other words at the met in the above two paragraphs was Aki Rica’s Teshima.


And that meant being in front of Henoko gate and staying in Tono at the same time, and also living in each artist’s local place,

while we were in Kagawa.


It was the horizontal stratum of Lake Biwa that was connected to the neighboring prefecture and extended Shikoku. It was the earth that was dug vertically then burnt. Although it were garbage of the earth in vain, It was my act of exhibition like a moment, but for two month and a half. I burned the earth with subsidy. Burnt soil was being presented.