NODA AKIKO

ITA

2000

-Master presso la Doshisha University Graduate School of Policy and Management, Kyoto.

2000-2007

-Creative Producer presso l’Advertising agency Hakuhodo Products.

2009

-Termina gli studi presso Tokyo Glass Art Institute, Tokyo.

2011

-Master presso la Tokyo National University of Fine Arts and Music, Tokyo.

2011-2013

-Technical Teach Assistant di Klin Works presso la Osaka University of Arts, Osaka.

2012

-Premio Miwa Kyusetsu al 5˚ Contemporary Glass Art Exhibition, Sanyo-Onoda.

2013

-Apre l’atelier a Kyoto.         

-Gran Premio alla 52˚ Japan Contemporary Arts and Crafts Exhibition, Tokyo.

2014

-Partecipa alla 45˚ edizione del Japan Fine Arts Exhibition, Nitten          

-Corso di modellazione presso la Scuola specializzata di ceramica, Kyoto.

2015

-Premio del Presidente della Camera di Commercio e Industria di Kyoto alla 1˚ Kyoto Art Exhibition, Kyoto.

2016

-Docente della Doshisha University, Takarazuka University,Takarazuka.           -Membro della Japan Contemporary Arts and Crafts Association.

 

ENG

2000

-Master at Doshisha University Graduate School of Policy and Management, Kyoto.

2000-2007 

-Creative Producer at advertising agency Hakuhodo Products.

2009 

-Finishes her studies at the Tokyo Glass Art Institute, Tokyo.

2011 

-Master in Glass Work at Tokyo National University of Fine Arts and Music, Tokyo.

2011-2013 

-Technical Teaching Assistant of Klin Works at Osaka University of Arts, Osaka.

2012 

-Prize Miwa Kyusetsu at 5˚ Contemporary Glass Art Exhibition, Sanyo-Onoda.

2013 

-Opens the atelier in Kyoto.         

-Grand Prize at 52˚ Japan Contemporary Arts and Crafts Exhibition, Tokyo.

2014 

-Participate at 45th edition of Japan Fine Arts Exhibition, Nitten;         

-Course in modelling at Specialized  School  of Ceramics, Kyoto.

2015 

-Prize of the President of the Chamber of Commerce and Industry of Kyoto at 1˚ Kyoto Art Exhibition, Kyoto.

2016 

-Professor at Doshisha University, Takarazuka University, Takarazuka;

-Member of Japan Contemporary Arts and Crafts Association.

ITA

Intorno al primo secolo a.c. con l’introduzione della tecnica del soffiaggio l’ utilizzo del vetro si estende alle arti e conosce uno straordinario sviluppo che dall’ Impero romano, ai mosaici in vetro bizantini, ai cristalli di Murano e di Boemia trova poi il suo apice nei vetri Art nouveau e Art Decò dove pittura, scultura, grafica si fondono in una matière vivante e poetique che per gusto, cultura figurativa, tecnica e bellezza raggiunge il massimo livello espressivo. In Giappone tale tecnica si radica nel periodo Momoyama, intorno al 1600, e si sviluppa nel tardo periodo Edo; ma nonostante la relativamente breve tradizione i nipponici sono tra i maggiori estimatori dell’arte vetraria annoverando un grande numero di ‘glass artists’ di alta qualità. Tra questi Akiko Noda: le caratteristiche comuni della sua opera si riassumono nell’esaltazione della linea curva, nelle variegate striature e sfumature, nella delicatezza e a volte nella forza dei colori che i suoi lavori sembrano imprigionare e nel costante riferimento all’arte giapponese. La delicata, impalpabile leggerezza di opere quali ‘Like a lotus - a moment of bloom’ o ‘Passage of time’ rimanda al mistero del tempo, alla sua indefinibile opacità che questi lavori sembrano contenere. Alcuni statements dell’ artista sul suo lavoro : “Sentendo i cambiamenti della ricca e svariata natura del Giappone assieme a quelli del cuore, esprimo con il vetro le cose invisibili, come i mutamenti dell’anima, le cose volubili e affini.... Il vetro ha il doppio volto. Quello dolce e duro. Quello rotondo e aguzzo. La forza dentro la fragilità. Si illumina assorbendo la luce e crea l’ombra scintillante. Assomiglia all’essere umano. Anzi non solo all’essere umano, ma a tutte le vite, delle piante e degli animali Può cambiare le sue espressioni in ogni momento, a seconda delle temperature e delle gravità, e conservare le espressioni istantanee dentro sé stesso.. Come glass artist vorrei di evocare i ricordi e le emozioni degli spettatori... Vorrei fermare nelle opere i momenti fugaci del cuore ed esprimerli con forme fluttuanti” E a me pare che quest’ ultima frase sintetizzi meravigliosamente il senso delle opere qui proposte.

ENG

Around the first century B.C., with the introduction of the glassblowing technique, the use of glass was extended to the arts and underwent an extraordinary development during the Roman Empire, through the Byzantine glass mosaics and the Murano and Bohemia glass and later reaches its peak in Art Nouveau and Art Decò where painting, sculpture and graphics merge into a matière vivante and poetique that reach the highest level of expression. In Japan this technique was established during the Momoyama period, at the beginning of the 17th century, and was later developed during the Edo age; despite their relatively short tradition in the glassblowing technique, the Japanese are among the greatest admirers of this art form, which nowadays counts a large number of very skilled “glass artists”. Among them, we find Akiko Noda: the common characteristics of his work can be summarized in the exaltation of curved lines, in the variety of striping and shading, in the delicacy and sometimes power of the colors that his works seem to capture, as well as in the constant reference to Japanese art. The refined and impalpable lightness of works such as “Like a lotus – a moment of bloom” or “Passage of time”, refer to the mystery of time and its indefinable opacity, which these works seem to contain. Here are some of the artist’s statements about his work: “Sensing the changes in the rich and varied nature of Japan, together with the changes of the heart, I express invisible things through glass, such as the changes in the soul, mutable and similar things… Glass has a double face. The sweet one and the hard one. The round one and the sharp one. Force inside fragility. It shines by absorbing light and it creates sparkling shadow. It resembles human beings. Not only human beings, but all life, plants and animals. Glass can change its expressions at any time, depending on temperature and gravity, and it can conserve instantaneous expressions within itself. As a glass artist, I would like to evoke memories and emotions in the public… I would like to frame the fleeting moments of the heart in my work and express them through fluctuant shapes”. It seems to me that this last sentence summarizes beautifully the meaning of the works that are exhibited here.