Takako Nose
Profile
Takako Noseta was born in Tokyo and moved from Kyoto to Tokunoshima, Kagoshima Prefecture in 2017.
Artist
With the keywords of the universe, the earth, nature, humans, and living things, and a central theme of connection, he primarily practices painting. The Great East Japan Earthquake in 2011 prompted him to travel to Australia in 2012 to study the spiritual culture of the Australian Aboriginal people. Since 2011, he had been plagued by a sense of powerlessness and was unable to pick up a brush or paint. However, after interacting with the Aboriginal people who create their works daily at the Aboriginal art studio, using bamboo skewers to create dots, he decided to pick up paint for the first time in a long while and begin creating at the accommodation where he was staying. Rather than painting, he simply dotted each dot with the tip of a toothpick, which fits easily in his small hand.
He was given the skin name 'Napanangka' by an Aboriginal artist with whom he had daily interactions .
Since returning to Japan in 2014, he has continued to create and exhibit his unique style of dotting with the tip of a toothpick, while also working to convey the spiritual culture, history, and appeal of Aboriginal people through Aboriginal art workshops.
Furthermore, having become keenly aware of the importance of "environmental education" since the earthquake, in 2018 he launched the "Forest and Sea Art School," with the three pillars of art, environment, and welfare, aiming to create a space where anyone can enjoy and learn to imagine. He plans and implements art and nature observation events that also serve as "environmental co-education" for children and adults, aiming to foster an appreciation for nature through nature conservation, fostering the power to discover the cycle of life and the wonders and charms of nature, enhancing imagination and creativity, and fostering an appreciation for nature. He also holds art workshops and other events that serve as environmental education in the local community, aiming to contribute to the local community through art.
Forest and Sea Art School website: https://moriumiart.amebaownd.com
In recent years, he has been creating his works by hand using natural pigments (earth, stone, shell).
Painting is living, just like breathing.
It is at the source of my soul.
T akako Nose Born in Tokyo, Japan. Artist.
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.
In 2018, I established "Mori to Umi no Geijutsu Gakkou (School of Arts and Crafts of the Forest and the Sea)" and has been working on production activities while planning and managing the school.
'Mori to Umi no Geijutsu Gakkou'
HP: https://moriumiart.amebaownd.com
To create art works is to live. It is like breathing.
It is the source of my soul.
I would like to work to protect the world's natural environment and the spiritual culture of our ancestors from this "Miracle Island Tokunoshima" while communicating and conveying the charm of the natural world, including Tokunoshima, thought my art works.
My ambition is big. My activities start from our feet. What we can do. What we want to do.
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)
③Armchair theorist (54cm x 39cm/pencil on paper)
④I get it! (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
Vietnam War Museum
During this period, I underwent a major change. It all started when I visited the Vietnam War Museum during a two-month trip to Asia with a friend. One photograph I saw at the museum changed me and my work.
The photograph showed two young Vietnamese men whose heads had been cut off, with four or five American soldiers sitting around the men's necks and torsos, smiling and making peace signs. (The museum also had many other gruesome photographs on display, including a baby born after being exposed to Agent Orange, preserved in formaldehyde.)
When I saw that photo, I was overcome with an anger I had never felt before. At the same time, I realized that war can make people so cruel, and I felt the horror of war.
As I was standing outside the museum, unable to calm down and crying out in anger, a Korean friend of mine who was traveling with me said with tears in his eyes, "But Japanese people have done the same thing."
Before I went to this museum, I only vaguely knew that war was cruel. However, I was able to see vividly the various wars that took place in Vietnam.
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 evoked. 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 dot, just like them. After returning from the art studio, I spent my time in the garden of my lodgings making dots with the tip of a toothpick. Each dot, carefully and with thought, was a reflection of life and 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, a married couple, for giving me this opportunity. I can't express my gratitude 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 dot them carefully, one by one, every day.
"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.
■2017~
Moving to Tokunoshima, a remote island in Kagoshima Prefecture
"I want to live a life surrounded by the sea and mountains, closer to nature, where I can immerse myself in painting. I also want to be involved in environmental conservation and education activities." I had always had these dreams in mind, and the timing was right to move to my long-awaited remote island surrounded by nature.
After moving there, he was appointed to the Amagi Town Board of Education as a local revitalization volunteer for three years. The reason for this was to support the launch of the Mountain and Sea Study Abroad Program.
I chose this job because it was a very interesting one, as it would allow me to play a part in connecting children with nature. At the same time, I was able to utilize my experience in expressive activities, primarily painting, as well as my experience as an art workshop and art school instructor, to actively introduce and get involved in the arts field, and also put my efforts into environmental conservation activities, environmental education, ecotourism, and more. In the midst of all this, I opened the "Forest and Sea Art School," a community-based school where everyone can learn and enjoy imagining and creating creatively, based around the three pillars of art, environment, and welfare.
As of 2024, I am mainly engaged in painting, as well as activities with the Forest and Sea Art School and environmental conservation activities (protecting rare wild plant and animal species, etc.).
For me, expressing myself through painting is like "living" in the same way as breathing.
Other activities involve interacting with people and nature, providing a direct source of energy and nutrients, and then giving back with a sense of gratitude.
It's all connected.
My family who support me every day even though we are far away, the people on the island, my ancestors who watch over me even though we can't see them, and the power of nature.
I spend my days in Tokunoshima feeling grateful for everything.
I would like to live a life more closely connected to nature, surrounded by the sea and mountains, and to slowly immerse myself in the creation of my paintings. I would also like to be involved in environmental preservation activities and environmental education. I have always had these thoughts in my mind, and the timing was right for me to move to a remote island with great nature, which was my long-cherished dream.
For three years after moving to Amagi, I worked for the Amagi Town Board of Education as a member of the Regional Development Cooperation Corps. The reason for this was to support the establishment of the study abroad program in the mountains and seas.
This was a very interesting job, as it involved connecting children with nature. At the same time, I was able to make use of my experience as an instructor of art workshops and art schools, as well as my painting and other expressive activities, to actively introduce and engage in the field of the arts, and to focus on nature conservation activities, environmental education, eco-tourism, and other activities. In the midst of this, I opened a community-based school called "Mori to Umi no Geijutsu Gakko" (Forest and Sea Art School) where everyone can enjoy and learn to imagine/create creatively based on the three pillars of art ✖︎ environment ✖︎ welfare with a view to independent activities after the term of the cooperative.
For me, to create art works and expressing myself is as much a part of "living" as breathing.
Other activities, such as interacting with people and nature, provide me with energy and nourishment in a very direct way. And I give it back to them with a sense of gratitude.
It is all connected.
My family, who support me every day even though we are far away from each other, the people of the island, my ancestors who are watching over me even though I cannot see them, and the power of nature.
I spend my days in Tokunoshima, thankfully for everything.
☆2017〜
Move to "Tokunoshima", a remote island in Kagoshima Prefecture
