University of Huddersfield Repository Adkins, Monty and Dickens, Pip Shibusa: extracting beauty Original Citation Adkins, Monty and Dickens, Pip (2012) Shibusa: extracting beauty. University of Huddersfield Press, Huddersfield. ISBN 9781862181014 This version is available at http://eprints.hud.ac.uk/12836/ The University Repository is a digital collection of the research output of the University, available on Open Access. Copyright and Moral Rights for the items on this site are retained by the individual author and/or other copyright owners. 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For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. http://eprints.hud.ac.uk/ SHIBUSA — EXTRACTING BEAUTY Edited by Monty Adkins and Pip Dickens University of Huddersfield Press Published by University of Huddersfield Press University of Huddersfield Press The University of Huddersfield Queensgate Huddersfield HD1 3DH Email enquiries [email protected] First published 2012 Text © The Authors 2012 Images © as attributed Every effort has been made to locate copyright holders of materials included and to obtain permission for their publication. The publisher is not responsible for the continued existence and accuracy of websites referenced in the text. All rights reserved. No part of this book may be reproduced in any form or by any means without prior permission from the publisher. A CIP catalogue record for this book is available from the British Library. ISBN 978-1-86218-101-4 Designed and printed by Jeremy Mills Publishing Limited 113 Lidget Street Lindley Huddersfield HD3 3JR www.jeremymillspublishing.co.uk COVER IMAGE: Shibusa series – Katagami Sketch 32 © Pip Dickens Where is the wisdom we have lost in knowledge? Where is the knowledge we have lost in information? T.S. Eliot, The Rock Chapter One v About this volume This volume celebrates a number of artistic The book is split into three parts. endeavours: music, painting, the skill of The first part, by Monty Adkins, discusses the making in general, and Japanese kimono relationship between painting and music from design and related crafts. The book is designed both historical and contemporary angles and not only to accompany the exhibition Shibusa uses this as a foundation to outline his own – Extracting Beauty by Pip Dickens (visual creative practice. The second part comprises artist) and Monty Adkins (composer) but also four chapters by Pip Dickens investigating to document the creative journey from its notions of artistic practice – methodology, inception to the making of the final works. pattern, colour and rhythm, and the materials As such, the book is a rich repository of ideas used in the making of her paintings. The third and discusses a wide range of topics both part of the book contains three contextual directly related and occasionally tangential chapters, by Roy Exley, Pip Dickens and to the project – though all the ideas, concepts Makoto Mori. The first of these, by Roy and research presented in the book fed into Exley, provides an analysis and critique the final exhibition. The book thus provides of collaborative practice in the arts. The a unique glimpse into the creative process of remaining chapters will be of special interest the artist and musician, and also into how to those wishing to understand more about their accumulated collaborative ideas and historical and contemporary Japanese investigation into Japanese aesthetics and textile design. katagami stencils resulted in the works presented in the final exhibition. vi Chapter One About the editors Monty Adkins is a sound artist, performer Pip Dickens was the Leverhulme Trust Award and lecturer in digital music. He read music Artist in Residence in the Department of at Pembroke College, Cambridge, and is Music at the University of Huddersfield, currently Professor of Electronic Music and 2010–11. She has a Masters in Fine Art, head of research in the Department of Music Slade School of Fine Art (UCL). She was at the University of Huddersfield. He has shortlisted for the NatWest Art Prize in published articles on the aesthetics of digital 1997; was the recipient of the Jeremy Cubitt music, painting and visual art, and has Prize (Slade School of Fine Art); won the recorded five solo CDs of his sonic art. Edna Lumb Art Travel Prize in 1995, where www.montyadkins.com she undertook research in Iceland; was a nominee for the Jerwood Contemporary Painters in 2009; and was shortlisted for the Celeste Painting Prize in 2009. She is an independent professional artist. www.pip-dickens.com Chapter One vii Notes on contributors Roy Exley is a freelance art critic and writer. Makoto Mori is a kimono designer based in He has published journal articles exhibition Kyoto, Japan. Born in 1986, he studied at reviews, book reviews, features and interviews, Kyoto City University of Arts. He inherited and has also worked in collaboration with art his family business and fuses traditional galleries and artists, writing essays and texts kimono design knowledge and skills inherited for exhibition catalogues and press releases. from his father with state-of-the-art computer His writings have been included in artists’ graphics technologies. He also studied at monographs, published compilations and Doshisha Business School under Professor surveys of contemporary art and photography. Yuzo Murayama, where he completed a thesis He has a comprehensive knowledge of the on the relationship between Japan’s heritage contemporary art world, in terms of both industries and the ‘Cool Japan’ movement. its organisational dynamics and within He is currently working on designing new-style the framework of critical theory and the kimonos incorporating ‘Cool Japan’ elements. continuing evolution of art theory, and has a personal interest in Japanese craft and culture and electronic music. viii Chapter One Acknowledgements The editors would like to thank the Leverhulme advice along the way. We extend special Trust for the Artist in Residence Award, thanks to the Kyoto designers for allowing without which this book, accompanying us to interview them and discuss, candidly, exhibition and collaboration at the Department transitions taking place in the kimono of Music at the University of Huddersfield, industry: Yunosuke Kawabe, Taro Matsumara, would not have been possible. We would and most of all Makoto Mori for his in-depth also like to thank the Leverhulme referees essay on the history of kimono and contemporary Ken Shuttleworth (architect), Ian Heywood design and production. We wish them every (Research Fellow, Lancaster Institute of success in the future with their practices. Contemporary Arts), Sonja Kielty (Museums This book is enriched by many artists’ Officer: Exhibitions, Bradford Museums & images that contributed useful references to Galleries) and Estelle Thompson (visual artist) themes examined in the project. We would – it would not have happened without you. like to thank the Naruyama Gallery, Tokyo We also extend thanks to Roy Exley and (Matsui Fuyuko); Purdy Hicks Gallery, Makoto Mori, who kindly agreed to London (Estelle Thompson); and Karsten contribute essays for this book. Schubert Gallery, London (Bridget Riley) for An essential part of this project was their images and permissions; and also artists Pip’s research trip to Japan. We would like Paddy Hartley and Liz Rideal, for providing to thank all those involved in this visit to information and images of their work. Kyoto in April 2011: Professor Yuzo Murayama of the Doshisha Business School Monty Adkins and Pip Dickens for his assistance, extensive knowledge and kindness in introducing us to contemporary Throughout the Leverhulme Residency, designers of Kyoto; also our young and the University of Huddersfield’s Department enthusiastic translators from The Good of Music has been a warm, welcoming and Samaritan Club, Kyoto – Sayuri Awazu and supportive environment in which to work. Kang Kang, without whom this project would I would like to thank Professor Michael Russ have been quite impossible; Atsuko Console at (Dean of the School of Music, Humanities and Doshisha Business School, London Office, for Media) and the following composers whom being our communication ‘bridge’ between I have had the great honour to come to know London and Kyoto; and Shihoko Ogawa of and whose work is admired greatly: Pierre Daiwa Anglo-Japanese Foundation, London, Alexander Tremblay, Maria Castro and Bryn for her general support, encouragement and Harrison. To my rock – Brian McCallion. Pip Dickens Chapter One ix Contents Part One Shibusa: a musician’s perspective 1 Exploding stillness 3 Monty Adkins Part Two Shibusa: an artist’s perspective 2 The katagami stencil: handmade machine 25 Pip Dickens 3 Pattern, rhythm, vibration and colour 33 Pip Dickens 4 Low tech and high tech: the tail should not wag the dog 45 Pip Dickens 5 Smashed pianos and dysfunctional brushes 73 Pip Dickens Part Three Contextual writings 6 Sharing of textures: crossovers in contemporary art 89 Roy Exley 7 The craftsmen of Kyoto 107 Pip Dickens 8 History and techniques of the kimono 117 Makoto Mori Part One Shibusa: a musician’s perspective Chapter One 3 Exploding stillness Monty Adkins Introduction The Shibusa exhibition is a collaboration Japanese katagami stencils was the starting between the painter Pip Dickens and myself point for the collaboration. These fragile and that has developed through a kindred intricate mulberry-paper stencils have been approach to thinking about our respective used for centuries in Japan in the dyeing art forms and the influence Japanese culture of textiles (see Figure 1.1).