50 ARTISTS to DISCOVER 2025

INTERVIEW with FCG

First question: Welcome (your name), first and foremost, tell us about your background and why you choose to pursue this career. Do you remember the first artwork that moved something inside you?

My name is Kikuchi Aomi, and I am a Japanese artist deeply committed to the realms of creativity and craftsmanship. My artistic journey commenced with a focus on fashion design, where I explored the intricate relationships between fabric, color, and form. This foundation in fashion sparked a wider curiosity, leading me to explore a diverse range of crafts, each offering unique techniques and cultural significance. I immersed myself in dyeing and weaving, transforming raw materials into vibrant textiles in a meditative practice. I also engaged in the delicate art of Japanese embroidery, crafting intricate patterns that narrate stories through thread. My exploration extended to braiding techniques reflecting traditional Japanese aesthetics and the meticulous processes of Urushi, the art of Japanese lacquer, which combines natural materials and craftsmanship for stunning finishes. Additionally, I embraced ceramics and porcelain painting, where the tactile nature of clay and the fluidity of glazes allowed me to express my artistic vision in three dimensions. Throughout this journey, I complimented my hands-on experiences with academic art studies, providing a theoretical framework and historical context for my practices. My evolution as an artist has felt less like a series of choices and more like a calling—an instinctive pull towards creation that has guided me daily, presenting new experiences and challenges that have continuously shaped my artistic path.

At the age of 19, I embarked on a transformative solo trip to Kurashiki, Japan, a place renowned for its rich cultural heritage and artistic traditions. During this journey, I visited the Ohara Museum of Art, a treasure trove of both Japanese and Western art. There, I encountered a small marble sculpture of a veiled woman, an artwork that left an indelible mark on my soul. The artist had masterfully captured the delicate softness of the woman’s form, a striking contrast to the hard, unyielding nature of marble. The way the veil draped over her features created a sense of mystery and grace, evoking deep emotions within me. I was captivated by the interplay of light and shadow on the marble surface, which brought the sculpture to life, making it appear almost ethereal. This moment of connection with the artwork sparked a profound realization about the power of materiality in art and the emotions that can be conveyed through different mediums.

Now, over 40 years have passed since that pivotal experience, and I am creating sculptures using wool fibers instead of marble. While marble and wool fibers are fundamentally different materials, they share a soft, milky texture that allows for a unique tactile experience. My choice to work with wool fibers has opened up new avenues for sustainability with less waste and preservation of natural resources like marble stone. The impressions I felt all those years ago in that museum have evolved within me, influencing my current body of work. Each sculpture I create reflects my journey, embodying the lessons learned from both the hard and soft materials I have worked with throughout my artistic career. Through the lens of wool fiber, I strive to convey the same sense of beauty and emotional depth that initially inspired me, inviting viewers to engage with my work on a personal and intimate level.

-What was your initial step towards becoming an artist?

My passion for creation led me to pursue studies in fashion and crafts, fields that seamlessly blend creativity with technical expertise. Transitioning from a Commercial Fashion Designer to an independent creator, and shifting from crafting pieces for personal enjoyment to publicly exhibiting them, marked a significant milestone in my artistic journey. This personal evolution required a deeper exploration into aesthetics and art history, enabling me to understand the context and evolution of artistic expression across various cultures and eras.

Embarking on this new phase, I delved into the study of influential artists and movements that have shaped the art and design world. My goal was to understand not only the techniques they employed but also the philosophies underlying their work. This exploration encouraged me to thoughtfully consider the meaning and significance of my own creations, prompting reflection on the messages I wished to convey and the emotions I aimed to evoke in my audience. Each piece became a reflection of my thoughts and experiences, imbued with layers of meaning that I hoped would resonate with viewers.

I believe that acquiring this foundational knowledge was crucial for advancing my journey as an artist. It provided a solid framework upon which to build my practice. Understanding composition, color theory, and the historical context of various artistic movements refined my eye for detail and helped me develop my unique voice. Furthermore, engaging with fellow artists and receiving constructive feedback during exhibitions exposed me to diverse perspectives, allowing me to grow and evolve my style. Each critique became a stepping stone, guiding me toward a deeper understanding of my artistic intentions and the impact of my work on the audience.

The initial step toward becoming an artist was not merely about honing my craft but also about embarking on a lifelong journey of exploration and self-discovery. It involved learning to articulate my vision and embracing the challenges associated with sharing my creations with the world. This journey continues to inspire me, driving me to experiment and innovate as I navigate the ever-evolving landscape of art and design.

-What is the meaning or creative motivation behind your work?

My work utilizes delicate and fragile materials, such as fiber, silk gauze/organza, and other organic elements, to create intricate representations of individuals or creatures who have endured significant hardships or faced untimely deaths. Each piece is meticulously crafted to embody the fragility of life itself, serving as a poignant reminder of the vulnerability inherent in our existence. These artworks are designed not only to evoke the impermanence and insubstantiality of the world around us but also to highlight the profound suffering that can accompany our human experience, a concept deeply rooted in Buddhist philosophy.

Through the lens of this philosophy, my creations explore the transient nature of life, illustrating how everything we hold dear is subject to change and eventual loss. The materials I choose reflect this theme; their delicate nature symbolizes the fleeting moments of beauty and joy that can easily slip through our fingers. By engaging with these pieces, viewers are invited to confront the realities of suffering and mortality, encouraging a deeper understanding and acceptance of life’s inherent uncertainties.

Furthermore, my work seeks to cultivate a sense of humility in the face of these truths. By acknowledging our shared experiences of pain and loss, we can foster a greater sense of compassion for ourselves and for others who are navigating their own struggles. The act of creating these pieces becomes a meditation on empathy, urging us to connect with the emotional landscapes of those around us. In doing so, we not only recognize our own suffering but also find ways to alleviate the burdens of others, thereby mitigating our own pain through acts of kindness and understanding.

My creations aim to convey a message of hope and resilience. While they reflect the darker aspects of existence, they also serve as a testament to the strength of the human spirit. In embracing the fragility of life, we can learn to cherish the moments of connection and love that arise amidst the chaos. Thus, my work stands as a bridge between sorrow and solace, inviting viewers to reflect on their own journeys and encouraging a collective movement towards healing and compassion.

-What inspires you, and where do your ideas originate? How do you develop your projects?

My inspiration stems from the profound teachings of the Buddha, particularly his insights on the concepts of impermanence, insubstantiality, and the pervasive nature of suffering that characterizes human existence. The Buddha articulated that all things are transient, that nothing remains unchanged, and that suffering is an inherent aspect of life. This understanding resonates deeply with me, as I reflect on the fundamental nature of reality: all matter, including ourselves, is composed of atoms, and nothing is singular or permanent. The very essence of existence is marked by constant flux; as conditions evolve, so too do the states of being. This philosophical perspective is not only rooted in ancient wisdom but is also supported by contemporary scientific understanding, which reveals that change is an intrinsic part of the universe. Through my artistic endeavors, I aspire to create works that facilitate a deeper comprehension and acceptance of this reality, encouraging viewers to confront the transient nature of their own lives.

The pieces featured in the FCG book are titled "Suffering Being Born." While birth is typically celebrated as a joyous milestone, it simultaneously marks the beginning of a journey fraught with challenges and suffering. Without the experience of birth, we would not encounter the inevitable realities of illness, aging, or death—each of which contributes to the tapestry of human experience. Although it might seem disheartening to acknowledge that the potential for suffering begins at the moment of birth, I propose that embracing life as a series of challenges can ultimately liberate us from the relentless pursuit of happiness that often leads to disappointment and despair. By adopting this perspective, we can cultivate a greater appreciation for the present moment and find joy in the positive experiences that life offers, no matter how fleeting they may be.

While some individuals may instinctively resist the notion that birth signifies the onset of suffering, I believe it is crucial to engage with and consider diverse viewpoints. This engagement can foster a deeper understanding of our shared human condition. I hope that my work serves as a catalyst for such reflection, providing an opportunity for viewers to explore the complexities of existence and the myriad emotions that accompany it. By confronting these themes through art, I aim to create a space where individuals can process their own feelings about life’s inherent challenges and ultimately find a sense of peace in the acceptance of impermanence. My hope is that through this artistic exploration, we can collectively navigate the intricate dance of suffering and joy, recognizing that each moment, whether filled with pain or pleasure, contributes to the richness of our lives.

-What are you working on at the moment?

I am currently engaged in crafting a detailed image of a “Chigo,” a young boy who plays a crucial role in the Gion Festival—a historic event in Kyoto, Japan, celebrated for over 1,000 years. This festival is more than a local celebration; it is a vibrant tapestry of culture, history, and community spirit that attracts visitors globally. My artistic endeavor utilizes the Tsuzure weaving technique, a method rooted in ancient Egyptian Coptic weaving, which has evolved into a uniquely refined art form in Kyoto. This technique involves a meticulous process of interlacing threads to create intricate patterns, demanding a high level of craftsmanship and dedication. Both the Gion Festival and Tsuzure weaving have endured throughout their extensive histories, adhering to many traditional and lasting rules passed down through generations. As a contemporary artist, I am exploring innovative approaches to these time-honored traditions, emphasizing consistency while also pushing the boundaries of how they can be interpreted in the modern context.

The Gion Festival is not only a significant cultural event but also a major tourist attraction showcasing the rich heritage of Kyoto. The festival features elaborate floats, traditional music, and vibrant parades, all contributing to its allure and historical significance. It is likely to continue captivating audiences for years to come, as it embodies the spirit of Kyoto and the resilience of its traditions. However, it is important to note that Kyoto's once-thriving textile industry has experienced a notable decline in recent years. This downturn is attributed to the decreasing popularity of kimonos among the Japanese population, who are more inclined towards Western fashion. Additionally, the aging craftsmen who have dedicated their lives to mastering these traditional techniques face a significant challenge: a lack of successors willing to carry on the craft. These factors raise concerns about the future of the art of Tsuzure weaving.

As a contemporary artist, I challenge the conventions of portraying customs from a bygone era while utilizing techniques that some may consider outdated. My endeavor is not driven by nostalgic sentimentality; rather, it is rooted in a desire to reconnect with and reinterpret these traditions for a contemporary audience. Although the Gion Festival originated in ancient times, it remains a vibrant and essential part of Kyoto's cultural identity today. Tsuzure weaving, despite its narrow survival through the ages, has found a place in my artistic practice. I have been fortunate to find a mentor who has graciously shared their knowledge and expertise in this intricate craft. My aim as an artist is to explore the potential of Tsuzure as a contemporary art form, especially in an era where there is little demand for weaving in the fashion industry, thus breathing new life into this ancient technique.

The photograph of the "Chigo" I used as a reference is a monochrome image from a century ago. Being selected as the Chigo is not merely an honor; it is a profound responsibility. The child chosen for this role must bear the hopes and aspirations of the entire community, serving as a divine messenger who bridges the gap between the spiritual and the earthly realms. The pressures faced by these young boys are immense, and they are as intense today as they were a hundred years ago.

Assuming a prominent role as a child at a significant event poses a considerable challenge. Historically, societies have practiced requiring individuals to make substantial sacrifices, including the tradition of human sacrifice. When examining this situation from a human rights perspective, it is essential to reevaluate the expectations placed on this child. In my artistic creation, I aspire to evoke and capture the complex emotions of this child, illustrating not only the joy and pride associated with the role but also the weight of expectation that comes with it.

The Gion Festival showcases a mesmerizing parade known as Yamahoko Junko, aimed at delighting spectators and warding off evil spirits that may pose a threat to the community. To represent these malevolent entities and the heroes who defeat them, I have integrated Pokémon balls into the children's kimonos, along with symbols of iconic heroes such as Superman, Batman, and Spiderman. This blend of traditional and modern symbols creates a dialogue between past and present, allowing viewers to engage with the artwork on various levels. Additionally, hero silhouettes in the background further highlight the theme of heroism and protection that is central to the Gion Festival. Despite scientific progress, we continue to experience anxiety and fear concerning natural disasters and epidemics, much like people did over a thousand years ago, often leaving us with no option but to pray. Phenomena beyond human understanding are frequently labeled as monsters, and heroes are imagined to conquer them. During the Gion Festival, these monsters are entertained and subsequently vanish, followed by a parade of the gods. In modern times, heroes also not only defeat monsters but also provide entertainment.

The weaving thread utilized in this intricate creation is not just any ordinary material; it is repurposed scrap material that had been lying dormant in a Nishijin workshop for an extended period. This practice of using leftover threads not only contributes to the sustainability of my work but also serves to honor and pay homage to the rich and storied history of textile craftsmanship that has flourished in Kyoto for centuries. This commitment to sustainability is particularly significant in a world that often prioritizes fast fashion and disposable materials.The act of weaving with these materials not only transforms them into something new and beautiful but also connects my work to the broader narrative of Kyoto's textile heritage, which is characterized by its attention to detail, reverence for tradition, and innovative spirit.

Last question:   We are at the end of this short interview, would you like to add something else about your artistic research? How did you find collaborating with our gallery?

In my ongoing journey as an artist, I find it essential to remain engaged not only with themes that are directly related to art but also with a wide array of societal issues that impact our daily lives. My artistic research is deeply rooted in the exploration of these diverse topics, as I believe that art has the power to challenge perceptions and provoke thought. I strive to create innovative works that encourage individuals to view the world through different lenses, ultimately fostering a deeper understanding and empathy among people. By addressing pressing social issues and incorporating varied perspectives into my art, I hope to contribute to a more inclusive and thoughtful society.

Participating in this collaboration with FCG has been a rewarding experience for me. I appreciate the opportunity to engage with other artists and curators, which enriches my own practice and expands my horizons. Being part of a space that values diversity in contemporary art allows me to explore new ideas and express my vision more freely. I am excited about the potential for growth and dialogue that such collaborations can foster, and I look forward to continuing to contribute to the vibrant tapestry of the contemporary art scene.