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KOMOREBI

The Komorebi collection embodies gesture and directional line work to create form instilled with illusory motion. Inspired by the Japanese art of woodblock techniques and the creative armour of the samurai, these pieces evoke the grand gestures of the samurai as his heavy sword slices through the air above his head. Elegant and courageous with such controlled conviction in each movement; this is the inspiration for my collection.

The Journey To Komorebi

 

‘Komorebi’ is the word the Japanese have for when sunlight filters through the trees - the interplay between the light and the leaves.

 

The work titled ‘Komorebi’ embodies gesture and directional line work to create form instilled with illusory motion. Inspired by Japanese artwork techniques including woodblock and the creative armor and artistic depiction of the Samurai. Grand gestures are created by a Samurai while wielding his sword with such control as the heavy weapon slices through the air above his head, similar in form to the movement of a bird as it dances to lure a mate. Elegant and courageous with such conviction in each movement, this is the inspired vision for creating each piece.

 

The concept of this collection was conceived upon reflection my trip to the Met Museum in New York during 2010, here a landmark exhibition devoted to the art of the Samurai was held. While admiring the work I was taken into its depths of colour, tradition, history, craft and technique. Having always had a deep interest in Japanese art it now pervaded in me, waiting to be expressed through my own interpretation of the work. It was only once I had returned from a trip to Japan in 2017 and having visited Hokusai at the N.G.V in Melbourne that the incubation of the ideas were ready to be realised.

 

Throughout my exploration of Japanese artworks, I was particularly enthralled with the art of woodblock prints and their incredible precision, colours and stories. I discovered in these, a consistent use of line to assist in the outlining or enhancing of gesture and creation of illusory motion or even to suggest a mood.  I had also made a similar discovery in the Samurai armor where extensive use of line work was apparent and so too was the use of gesture in the head pieces- some creating intimidating and powerful formations.  It became evident that the use of line work was also heavily dictated by the nature of the techniques used to create the works. Aside from the incredible precision, colour and imagination used, in my perception it was line work that had brought it to its height of dynamism.

 

When I began development toward a body of work influenced by my findings in Japanese art, I too had to carefully consider my approach in using a 3D printing technique. Creating ornamental or wearable pieces holds its own constraints, using an ultra-modern technique inspired by a mastered ancient technique was a humbling experience. Line is one of the most complex functional elements in design and lends itself to many creative mediums. 3D printing and the digital tools used to create work are usually used for parametric designs. As I had expected using the tools to create organic forms produced interesting and powerful results. The work has managed to escape being identifiable as 3D printed and has produced highly detailed and considered compositions of clustered line.

 

I truly feel that the mastering of a Japanese traditional craft is not dissimilar to mastering the art of three-dimensional design and making.