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Cancelled: Yohei FUSEGI ‘Inner Light’

Cancelled: Yohei FUSEGI Inner Light

かねてよりご案内しておりました伏木庸平 個展「Inner Light」は都合により中止となりました。
次回展覧会は、4月27日より「エスニックアートと伏木庸平のThread Sculpture」を開催いたしましす。
We regret to inform you that the exhibition ‘Yohei Fusegi – Inner Light – ‘ has been cancelled.
Please feel free to contact us for any questions you may have.
We are going to present the exhibition “World tribal art and Yohei FUSEGI’s thread sculpture” from 27th April.
please look forward to it. >>>next exhibition
Thank you so much for your understanding.




Yohei FUSEGI [1985 – ]
Based in Tokyo, Japan.
Solo Show
“My own god” Circle gallery&books, Tokyo 2017
“Vortex to be born” Shoshi-Gyakko, Tokyo 2016
“ké” Circle gallery&books, Tokyo 2015
Group Show
“Continuous Contours” Sezon Museum of Modern Art, Karuizawa 2022
“Kunitachi Art Center 2021” Koizumi-dougu-ten, Tokyo 2021
“Kunitachi Art Center 2020” YUKAKU, Tokyo 2020
“LOVE LOVE LOVE LOVE exhibition Pre-Event” Tokyo Midtown 2019
“Dan Miller – Thomas Machcinski – Yohei Fusegi” Espace art absolument, Paris 2018
“TANAKA Chuzaburo: Spirit of Life in the North of Japan” Towada Art Center, Aomori 2014-2015
“POCORART Declares” 3331 Arts Chiyoda, Tokyo / Museum of Art WARAKOH, Kochi / Odate Jukai Gymnasium, Akita 2014
“TRANS ARTS TOKYO” former Tokyo Denki University 2012
Sezon Museum of Modern Art
“Art Absolument Prize for Outsider Art – 2nd Edition” Outsider Art Fair Paris 2018
“POCORART vol.3 Mayor of Chiyoda Prize” 2013


Details and hires images are available on >>>Artsy


糸、布、鉄、石 | Thread, Cloth, Iron, Stone
50 × 37 × 17 cm (スタンド含む高さ:168cm)


Unnamed 2015-1
糸、布、鉄、石 | Thread, Cloth, Iron, Stone
18 × 16 × 9 cm (スタンド含む高さ:143cm)


Unnamed 2015-2
糸、布、鉄、石 | Thread, Cloth, Iron, Stone
17 × 15 × 12 cm (スタンド含む高さ:145cm)


山思朗 San-Shi-Ro
糸、布、針金 | Thread, Cloth, Wire
120 × 85 × 48 cm(可変 | variable)


Unnamed 2017-1
糸、布、鉄 | Thread, Cloth, Iron
59 × 17 × 14 cm(スタンド含む | stand included)


ぱらいそ Paraiso
糸、布、鉄、石 | Thread, Cloth, Iron, Stone
56 × 20 × 30 cm(スタンド含む高さ167cm)
糸、ビニール、鉄、石 | Thread, Plastic sheet, Iron, Stone
70 × 20 × 20 cm(スタンド含む | stand included)
Unnamed (2016-2)
糸、布、鉄 | Thread, Cloth, Iron
80 × 16.5 cm(スタンド含む | stand included)
個人蔵(参考出品)Private Collection
Unnamed (2017-2)
糸、布、紙、鉄 | Thread, Cloth, Paper, Iron
62 × 15 × 20 cm(スタンド含む | stand included)
個人蔵(参考出品) Private Collection

Any Which Way

Knowing when a work of art is complete is often a delicate question for artists, but in the case of Fusegi Yohei’s tidal composition Oku this sense of an ending has never applied. During the past decade over which Oku has been taking shape, various incarnations of this monumental textile have been exhibited. However, no single installation can lay claim to revealing the piece in its definitive or conclusive form. Instead, the fabric exists in a state of metamorphosis, materialising intermittently as it continues to pass through Fusegi’s hands.

Unpicking the varied interplay of methods which Fusegi’s practice draws upon is as complex as trying to set temporal or spatial parameters around his artworks’ progression. His pieces are the product of a number of techniques including embroidery, appliqué, and weaving, but he also recognises the role of less intentional forces such as weathering and gravity in the textiles’ formation. Sheaves of cloth coalesce around his home in Tokyo, taking on the colour of threads he picks out each day to reflect his state of mind. Fusegi also incorporates less conventional textures from other materials which come to hand, including paper, cardboard and plastic. In parallel with the work’s constructive processes, Fusegi must deconstruct these elements to render them susceptible to his needle before they can be recast within the larger mosaic of his compositions.

Rather than developing along a linear vector common to many weaving traditions, Fusegi’s interpolation of fragments feels both intuitive and organic. His pieces possess no fixed centre or even a designated frontal surface. Instead, as new accumulations of material are incorporated they shift the balance of patterns and generate warps in the fabric, setting in motion tensile ripples as well as visual resonances that echo throughout the body of the work. This model of growth might be compared to that of rhizomes such as coral, which extend in a distributed and multidimensional network rather than growing upwards from a central root.

Whilst many textiles are the product of calculated designs through which the artist’s vision is projected onto a static structure, Fusegi’s work brings to mind the cumulative maturation of natural phenomena, like the formation of geological strata or the layered construction of nests by birds and insects. He has embraced an open-ended and unselfconscious approach to creativity that defies the logic of rigid post-industrial production cycles with their blueprints and deadlines.

The fabric that emerges out of Fusegi’s practice reflects a diverse complexity, arising out of its gradual accrual over time. This evolutionary quality has been a source of inspiration for admirers of the natural world for millennia, and it is in this context that his work’s timeless appeal makes most sense. From sculptural forms the size of fruits or fossils to expansive swathes that cascade across walls, Fusegi’s patterns are kaleidoscopic in scale. They evoke the depth of starry constellations and the fluid, delicate spread of lichens, slime molds and fungi. Clusters of stitches and swells of colour tumble across the contours of the work’s many surfaces, appearing as if through a microscope or telescope. The work’s equivocal invocation of scale and distance encourages an alternative perspective, bringing us to a new appreciation of these materials and techniques which are so often identified with domestically oriented craft practices.

Perhaps this division between natural and domestic environments is another example of a binary distinction such as ‘East’ and ‘West’ or ‘art’ and ‘craft’ that simply does not serve Fusegi. His pieces are deeply embedded in his home, where he comes across materials, works them into fragments, and allows them to lie fallow until they find their place in larger compositions through his free hand and magpie eye. Fusegi has described these processes as being essentially integrated within the patterns of his domestic life; he works casually as he eats and has even used works in progress to wipe down the floors. After all, Fusegi’s home is his habitat, with this environment regulating the people and objects that dwell within it as naturally as the forest or the sea floor shapes its constituent forms of life.

Ecology has become something of a buzzword in the art world today, with destruction in the natural world prompting greater consciousness of environmental responsibility and a desire to explore the delicate systems that engender and support life on earth as we have known it. Urgent voices in politics and activism have embraced the concept as a means by which to question the perspective from which people have long privileged an understanding of the planet as the domain of human civilisation. However, there is another sense of ecology that is often lost in the heat of contemporary discourse, obscured by the clamour of conflicting worldviews and rival agendas.

Instead, in Fusegi’s work we are presented with a microcosmic illustration of ecological functioning. The fibres come together in a fluctuating matrix to form a single body, and perhaps in time will diverge into new constellations. Their dense interrelation traces the narrative of Fusegi’s quotidian work and care. There is an unruly authenticity to Fusegi’s unboundaried negotiation of his materials, which emerges incrementally in tune with the rhythms of his days at home. He explores the composition and properties of each strand beyond the everyday usages in which their forms as manufactured objects was originally determined.

The aggregated, amorphous nature of Fusegi’s fabrics testify to a holistic sense of time and space, so often incompatible with the fierce pace and regimented schedules of modern life in urban society. They speak to an alternative awareness of nature’s entangled reality, intimately bound up in a matrix of human and non-human timeframes and ultimately inextricable from the hectic flux of our own lives. Fusegi’s creative practice as well as his artworks may be read as an ecological parable through which we can reimagine our individual roles within this living tapestry.
Lucy Fleming-Brown
Director, Michael Hoppen Gallery, London










Lucy Fleming-Brown
Director, Michael Hoppen Gallery, London



伏木庸平の針仕事 - INNER LIGHT
兒嶋俊郎 (兒嶋画廊)
Yohei Fusegi’s Needlework
Is it just me, or was there anyone else who, as a child, noticed a tiny, seven-colored mosaic shining in the deep darkness when I suddenly woke up or on the screen behind my tired eyelids on a sleepless night?
The numerous dots of color that had seemed so small soon swirled together to form a labyrinth of colors that made me fall into a trance.
I wonder what that mosaic was.
Waiting for an aurora in the darkness I was gazing, and whirlpool would appear and spreading across the room and cover the darkness. 
Fusegi’s works remind me of something from my childhood, which could be a dream or a nightmare.

Since prehistoric times, people must have never tired of looking up at the great spectacles in the night sky, such as the starry heavens and the aurora borealis.
The memory of these events must be strongly ingrained in our minds.
In the art world, the ancient interior of the stone chamber in a decorative burial mound, the gold and silver sands of a decorative sutra “Heike Nokyo”of a Heian-period, or the mosaic icons of Christianity come immediately to my mind.
In modern times, it would be artworks such as Gustav Klimt’s “Fulfilment” and Eikyuu’s works from the 1960s.
What significance does it give us to share Fusegi’s works with you today?
At a time when people around the world are being stripped of their dreams and painted black, we hope that Fusegi’s prayers, stitch by stitch, will protect our future.

Humans, insects, fish, and slime molds wrap their offspring in the same beautiful maternity clothes. The needle and thread move back and forth, at the same pace as the insects and other living creatures.
Toshio Kojima (Gallery Kojima)