It’s a big week here at JANM as we prepare to open Transpacific Borderlands: The Art of Japanese Diaspora in Lima, Los Angeles, Mexico City, and São Paulo, a group exhibition that examines the work of 13 artists of Japanese ancestry born, raised, or living in either Latin America or predominantly Latin American neighborhoods of Southern California. The show is part of Pacific Standard Time: LA/LA, a Getty-led initiative exploring Latin American and Latino art in dialogue with Los Angeles.
Shipments of artwork have been arriving from all over the world and artists have started to arrive as well, to supervise the installation of their works and to participate in our festive opening weekend activities. One of the first artists to arrive from abroad was Erica Kaminishi, a Brazilian-born Nikkei who now lives in France. One of her featured artworks, titled Prunusplastus (2017), is a large-scale, site-specific installation made up of hundreds of petri dishes filled with synthetic cherry flower petals. The dishes are strung up with nylon threads so that they form a dramatic cascade of decorative plastic flowers.
Kaminishi’s ambitious concept required the assembly by hand of 3,300 petri dishes filled with 60,000 synthetic flowers. Work on this project actually began weeks ago, right here in Los Angeles, and became a massive group effort among JANM interns, volunteers, and staff members. Leighton Okada, JANM’s summer intern in public programs and media arts, was particularly instrumental in this effort, as he enlisted several of his own family members and provided meticulous quality control over the production process, which required hot gluing the flowers into the petri dishes.
Last Friday morning, shortly after arriving in Los Angeles, Kaminishi and project manager Claudia Sobral held a small coffee and pastry event to thank some of the people who volunteered to assist with the project. During an informal Q&A, Kaminishi explained the meaning behind her artwork: “In Japan, the celebration of flowers blooming in the springtime, such as the famous cherry blossoms (sakura), is a major tradition. I wanted to reproduce this atmosphere in a contemporary way, while examining the ways that we appreciate and nurture culture. The work touches on the Japanese concept of mono no aware, which holds that while beauty is very affecting, it is also, like all things, ephemeral. Nothing is eternal.”
One of the volunteers pointed out the irony of putting static plastic flowers in a petri dish, which typically holds living specimens. Kaminishi remarked that while she was doing her PhD studies in Japan, she took classes in biology and chemistry, which influenced her art practice. Indeed, the word Prunusplastus is an alteration of Prunus serrulata, the Latin name for the Japanese cherry flower. The word plastus means “something modeled” in Latin, and the work employs a quasi-scientific framework to isolate the cherry flower as a cultural object/concept in order to contemplate and investigate its nature and origins. Being an artist of mixed cultural background, concepts of shifting identity and blended DNA also figure into Kaminishi’s work.
Although Kaminishi has been thinking about the concept for Prunusplastus since her time in Japan, this is the first time it’s been realized. In addition to this installation, she also has four drawings from her Clouds series in Transpacific Borderlands.
Transpacific Borderlands opens to the public on Sunday, September 17.
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