Boro Is a type of folk fabrics from Japanese country side of 1900-1950.

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The honourable beauty of poverty in Japan

What did people wear in the past? While clothes and other belongings of the nobility and wealthy merchants can be seen in museums, those of the common people hardly ever are. Even though common people, poor people were the overwhelming majority. But many of them couldn’t write, and as we know, history is made by the powerful, by those who can and did write.

Moreover, all of their clothes have been made by women. That might be another reason why they are ignored? And, in many countries, clothes are burned or buried together with a person once he or she had died. In Japan’s poor rural areas, however, they weren’t. They were too valuable and therefore put aside. Even those who were able to acquire some wealth, didn’t throw away their patched clothing, the clothes their ancestors already cherished so much. That’s what „Boro” is.


Yohei Fusegi

né en 1985 à Tokyo

2013 2014 deux fois sélectionné Pocolart

2015 particitipation a l”exposition de l’art de textile au musée de Towada AOMORI district.

Son travail

Après avoir taté de la video art, Fesugi a décidé d’orienter son travail essentiellement vers la broderie!

Pour lui “piquer ” est un acte aussi naturel et meme indispensable que respirer ou manger. Il met entre 3 -6mois pour terminer un morceau de tissu. Il ne prémédite pas d’un resultat . Ce qui compte pour lui , c’est de faire tous les jours.
Il dit que ce sont ses mains qui réfléchissent et créent d’oeuvre.

Ce qui compte pour lui c’est l’acte meme de piquer . Il y trouve un plaisir sensuel et un sens : Il sent l’odeur du textile , ses mains se réjouissent du toucher et la vue de minuscules points de broderie qui prolifèrent, tout cela stimule son sens animal.

Son travail exprime pour lui la masse palpable du temps . L’obsession du temps. Fusegi pourrais reprendre à son compte les mots de son compatriote Sugimoto :
« Le temps, le sens du temps, le passage du temps, c’est la conscience. On doit d’abord regarder en arrière avant d’imaginer le futur. Tout comme il est fondamental de savoir d’où vient notre esprit. Nous sommes si loin de la nature et de l’origine des choses, aujourd’hui. »

Yohei Fusegi FUSEGI Instagram

Masayoshi HANAWA


Masatoshi HANAWA

né en 1981 à Ibaragi Japon
Après avoir étudié le métier de coiffeur au lycée technique , a partir de 2005 tout en travaillant il commence a exposer ses dessins dans la rue.
Puis il participe à de nombreux expositions de groupe au Japon.
Pour la France :
2014 Mangaro&Heta-Uma :FRANCE/La friche belle de mai (Marseille)&MIAM(Sete)
2015 Sa sculpture de monstre est choisi pour la couverture de Hey! Magazine.
2017 Participe HEY ! GALLERY SHOW#1 Paris  (Galerie Arts Factory)
2017 Out sider art fair /Atsuko Barouh
2017 Nominé du prix Art Absolument

Son art
Quand il était enfant sa famille vivait dans une maison isolée entourée de forêt. Sa mere travaillait la nuit. Pour chasser la peur de la nuit, solitaire, il dessinait des monstres protecteurs.
Il continue toujours de dessiner, surtout sur un tissue tendre, maniable, ainsi il peut dessiner a tout moment de la journée.
Depuis quelques années il travaille dans une fabrique de poêles a frire. Ce travail , la transformation de metal , l’inspire .
Il dessine dans sa voiture, c’est un endroit ou il peut être tranquille.

masayoshi HANAWA
 http://abcd56511.blogspot.comMasayoshi HANAWA Blog


Masakatsu Tagami, a.k.a. TAGAMI, was born in 1944 as the youngest child to parents who were farmers, who already had four daughters, in Yamaguchi prefecture in the south of Japan. His father, who was delighted with the birth of his first son, went to a fortune teller to see what the future held for the child and was told that he will be a good for nothing. When he went to another fortune teller, he was also told the same thing. His parents had half given up on him and TAGAMI graduated from a university without having any interest, spending the next seven years reading books at home and not working.

When TAGAMI was 29, his mother, being concerned about how the society might regard her son, asked him to leave home and he started doing paper rounds in Tokyo. On his second day at work, he saw a notice advertising life drawing class at an art studio and so he wondered in. He found drawing interesting. This was the first time in his life that he found anything interesting. That evening, he rang his father and asked him, ‘I have finally found what I want to do with my life but I don’t think I will be able to make a living from it. Will you support me for the rest of my life?’. The father asked him, ‘What would you do when I die?’. He was pursuaded when TAGAMI answered, ‘I will die too’. From then on, he started drawing and painting all day, living on money sent by his father with his wife whom he met at the art studio. He has only ‘worked’ for two days of his life. ‘Images keep flowing, never drying up. It is as if I have turned on a tap to a huge dam’, he says. All the work is produced without any preparatory drawings or paintings.

He put on two solo exhibitions in the 1970s but they did not result in much interest, and since then, he has not organized exhibitions himself as he feels that such an activity is a waste of time.