Takako Nose
Takako Noseta Born in Tokyo. Lives in Kyoto. Artist
Using the keywords of the universe, the earth, nature, humans, and living things, she creates artworks with a central theme of connection. In the wake of the Great East Japan Earthquake in 2011, she traveled to Australia to learn about the spiritual culture of the Australian Aboriginal people. Through her interactions with Aboriginal artists, she was given the skin name 'Napanangka'. After returning to Japan, she has been sharing the spiritual culture, history, and appeal of Aboriginal people through Aboriginal art workshops.
At the same time, having felt strongly about the importance of "environmental education" since the earthquake, he plans and implements art and nature observation events that also serve as "environmental co-education" for people of all ages, from children to adults.
Through nature observation sessions, we aim to foster awareness of the cycle of life, the ability to discover the wonders and charms of nature, imagination/creativity, and an appreciation for nature, all of which will lead to the conservation of nature.
Takako Nose Born in Tokyo, Japan. Artist.
Painter. Main theme is connection to the Space, Earth, Nature, Biology, Human.
In 2011, I had a time to relationships with Aboriginal Artist and they gave me a Skin name 'Napanangka' for me.
After I came back to Japan, I am looking for opportunities to spread the Aboriginal culture through Aboriginal Art workshops. Also I started having an interest in (global) environmental problems cause Fukushima nuclear power accident were made me feel the importance of Environment education. For that, I do the nature observation meetings adop the Art for develop their imaginations, creative power and heart to love the Mother Land.
I feel deep gratitude to connection microscopic organisms to the earth and us. I express my feeling through my Art works.
Profile
My history
■2004-2006 (+First time drawn picture )
When I was simply enjoying drawing
① First time playing (kindergarteners)
②Late Afternoon (91cm x 72.7cm/oil painting)
③ Woman with a Big Head (54cm x 39cm / paper, pencil)
④ Next time, I'll decide (54cm x 39cm / paper, pencil)
◇2004〜2006(＋ For the first time drawn picture)
In this period, I enjoyed the most to draw and painting purely.
①The fist time art work when I was a kindergartener.
②In the afternoon (91cm x 72.7cm/oil on canvas)
③I get it! (54cm x 39cm/pencil on paper)
④Armchair theorist (54cm x 39cm/pencil on paper)
crayon on paper
91㎝×72.7㎝/oil on canvas/2005
54㎝×39㎝/pencil on paper/2004
54㎝×39㎝/pencil on paper/2004
■2007-2010
162.0㎝×132.0㎝／oil on canvas/2007
oil on canvas 145.5㎝×112.1㎝/2011
「ベトナム戦争博物館」
この年代、大きな変化がありました。きっかけは２ヶ月かけて、友人とアジアを旅したときに行った、ベトナム戦争博物館でした。この博物館でみた、ある一枚の写真がわたしと作品を変えました。
その写真は、二人のベトナム青年が首を切断され、その青年の首と胴体の回りで４〜５名のアメリカ兵が座って笑顔でピースをしているものでした。（その博物館には、枯れ葉剤の影響をうけて生まれてきた赤ん坊のホルマリン付けや、残虐な写真など多数展示されていました）
その写真を見たとき今まで感じたことのない程の強い怒りが込み上げてきました。と同時に、『戦争』というのがここまで人を残酷にさせてしまうものなんだと、戦争の恐ろしさ深く感じました。
博物館の外で、怒りが収まりきらず１人ワナワナとしていると、一緒に旅をしていた在日朝鮮人の友人が「でも日本人だって同じことをしてきたんだよ」と涙目でいいました。
わたしはこの博物館にいくまでは、戦争は残酷なものだということは、漠然と知っていました。しかし、ベトナムという地で生々しい様々な戦争の
oil on canvas 145.5㎝×112.1㎝/2010
oil on canvas 145.5㎝×112.1㎝/2010
When I saw the exhibits, I felt like I finally understood that war is evil.
It made me realize how ignorant I had been up until then. At the same time, my friend's words made me reflect deeply on the fact that I needed to properly understand the mistakes Japan had made and understand why wars keep repeating themselves. After that, I began to paint pictures with the theme of war.
Even if I want to live
A young man who couldn't survive.
How terrifying they must have been when they were killed.
Such unreasonable events have been repeated many times in the past, and are still being repeated today.
① Jomon Cedar (162cm x 130cm / oil painting)
②③④Untitled (145.5cm x 112.1cm / oil painting)
◇2007〜2010
In 2007〜2010,I have changed in my mind after I went to Vietnam War Museum.
I deeply understood that war is such a hateful and cruel things.
Also, I felt so strongly that I have to know the mistakes of the past what Japan did too.
1.Jomon-sugi (162cm x 130cm/oil on canvas)
2-4. no title (145.5cm×112.1cm／oil on canvas)
■2011
"The Great East Japan Earthquake of March 11, 2011"
"The Great East Japan Earthquake of March 11, 2011"
Once again, a major event occurred that changed me and my work: the Great East Japan Earthquake.
After the earthquake, reports of the disaster areas and evacuation centers were broadcast on television almost daily. I couldn't sit still, and intuitively felt the need to see the situation there for myself (due to the stark difference between the image I had of the area through the media during my travels in Asia and seeing and feeling it with my own eyes), so I volunteered in Miyako City, Iwate Prefecture. The disaster site presented a scene unlike anything I'd ever seen before: a huge ship upturned in the wilderness, a car on top of a house, photographs and children's toys scattered everywhere alongside rubble, some of which was over three meters high. In a school gymnasium that was being used as an evacuation center, victims used cardboard boxes as partitions, and everyone—adults, children, grandparents—were all living under one roof. Despite having lost loved ones, there were people working tirelessly to help others.
Then the Fukushima nuclear accident happened. I was completely ignorant of the dangers of nuclear power, but I learned how terrifying it is.
Through my volunteer work, I experienced firsthand the threat of nature, the impact of nuclear power on people and the environment, and the fear it caused. These things caused me to stop painting.
I began to ask myself a lot of questions about the activities I had been doing up until now, such as why I had been drawing pictures up until now, what exactly drawing pictures meant, and what it would lead to, and I couldn't help but feel powerless.
I never got to keep this year's pen.
I realized I was a weak person.
And I wanted to reset myself.
Everything about my life and my art.
◇2011
"Great East Japan Earthquake on 11 March 2011"
In 2011,I couldn't paint anymore, after the Great East Japan Earthquake on 11 March 2011.
I did volunteer with Miyako Council of Social Welfare stuff.
At the site was more cruel than television.
The real sight, air, people was make me realize that miseries a earthquake and tsunami cause.
One of a volunteer stuff who is also victim and she lost the relative three people.
but she never to whine with say 'I still have a house and I alive'' and she was taking care for another victim.
The Fukushima nuclear power plant accident was also I felt a lot of things about the coexistent with nature.
We have been arbitrarily interfering with and damaging nature, and now we are getting our own back by bringing a variety of calamities down on them.
After the earthquake,I asked to myself many times over ``Why I to paint? for why?''
I lost my way, and I stopped to paint in this year.
and then,I went to Australia for to see Aboriginal Artists to learn Aborinal spirits and soul through Aboriginal Art.
■2012-2014
"I'll start over from scratch," I thought, and headed to Alice Springs, Australia, to meet Aboriginal artists.
Australian Aboriginal culture is said to be the oldest on Earth. It is a culture that has been passed down through the generations while respecting and coexisting with nature, and I wanted to learn about the soul and spirit of this culture through their art.
Aboriginal art is world-famous. The first time I saw it live was at the "Emily Kngwarreye Exhibition" held at the National Art Center, Tokyo in 2008. The works were full of vitality, earthy, human, and powerful, and you could feel them with your body - a whoosh or a bang!
After arriving in Alice Springs, I wanted to talk to them, so I bought some of their paintings and even spent half a day sitting next to them in the park. I'm sure they thought, "Who is this girl?"
"Encounter with an Aboriginal Artist"
I was fortunate enough to spend six months volunteering as a production assistant at their art studio, where they create their work. My image of Aboriginal people living in the 21st century was quite different from what I had imagined, which made me feel a lot of different emotions. However, their culture is still firmly passed down through art. Drawing a lot of energy from them and the natural beauty of Alice Springs, I began to paint again. Rather than painting, I dotted each piece one by one, just like them. After returning from the art studio, I spent my time in the garden of my lodgings, making dots one by one, carefully and with thought for the present, for all living things, even non-human creatures. The encounters and experiences I had here in Alice Springs could be said to be the origins of who I am today. I am most grateful to the gallery owners and their husband and wife for giving me this opportunity. I can't thank them enough.
◇2012-2014
"Aboriginal Artists"
In 2012〜2014,I went to Australia at Alice springs for learning Aboriginal Art.
My purpose was to learn of Aboriginal people's spirits and soul what is coexistence between people and nature through art of them.
Kit and Vanessa gave me a chance for it, so I was able to have a precious experience at Aboriginal Art studio of Kit and Vanessa.
This experience is got back to the grass roots of my mind and art works.
I can't thank you enough to Kit and Vanessa!!!!!
■2015~
In Australia, she was given the skin name 'Napanangka' by the Aboriginal people, and since returning to Japan, in addition to her own creative work and exhibitions, she has been running Aboriginal art workshops whenever she has the opportunity to raise awareness of Aboriginal culture.
Furthermore, the Fukushima nuclear accident was a major catalyst for people to become interested in environmental issues, and as a result, they have come to recognize the importance of environmental education. Now, with the aim of fostering children and adults through nature the connection of life (cycles), diversity, discovery, imagination/creativity, creativity, and a love of nature, we are planning nature observation events that incorporate art.
From artistic expression and creation, which are forms of self-expression on a life-size scale, to the small but powerful activities that help us coexist in harmony with Mother Earth, everything is connected to me, and it is something that I want to cherish very much.
The connection from invisible microorganisms to the universe.
I am grateful for all of my connections, and I carefully dot each one every day with the tip of a toothpick.
"Connection"
◇2015~
"Coexiestence"
Aboriginal Artist gave me a Skin name 'Napanangka'. After I came back to Japan, I looking for opportunities to spread the Aboriginal culture through Aboriginal Art workshops. Also I started having an interest in (global) environmental problems cause Fukushima nuclear power plant accident were made me feel the importance of Environment education. For that, I do the nature observation meetings adop the Art for develop their imaginations, creative power and heart to love the Mother Land.
I feel deep gratitude to connection microscopic organisms to the earth and us. I express my feeling through my Art works.