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W
a s h i Kimono by Maria Papatzelou |
Jagoda Photos
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I am in my studio in Thessaloniki, North Greece, and am still not allowed to visit my beloved Kyoto. I am holding washi paper in my hands, working on a new kimono. The paper is soft and strong, perfect for making wearable painted kimono.
I remember last year when my washi papers first arrived from Kyoto. I was so excited to begin my idea of creating a paper kimono and obi installation.
When we experienced our first global lockdown, I didn’t stop painting my imaginary blue-black flowers and golden lines onto pure white washi.
As I worked, so many of the Japanese myths were on my mind, like Urashima Tarō, the Tale of Genji, and Amaterasu and Izanami. Soon the kimono was ready.
I remember last year when my washi papers first arrived from Kyoto. I was so excited to begin my idea of creating a paper kimono and obi installation.
When we experienced our first global lockdown, I didn’t stop painting my imaginary blue-black flowers and golden lines onto pure white washi.
As I worked, so many of the Japanese myths were on my mind, like Urashima Tarō, the Tale of Genji, and Amaterasu and Izanami. Soon the kimono was ready.
Photo: Stavros Parcharidis
We took photos of the kimono in Amadryas forest. I was totally in a wabi sabi feeling because I was so happy that my washi kimono was completed in time for my first solo exhibition in Kyoto, but so sad because I had just received bad news: a global lockdown meant my kimono would travel to Kyoto, but I wouldn’t.
The global lockdown erased so many dreams, everyone's dreams...
Deep in the mountains of Kyoto hides an old historical temple , Houngonji Temple. There Mr Nakamura took my kimono and placed it in the center of the main hall together with its long golden washi obi.
My kimono is called "Second Skin.” It holds a female body imprint, but hanging in the temple, it felt empty of my presence, any female presence.
The global lockdown erased so many dreams, everyone's dreams...
Deep in the mountains of Kyoto hides an old historical temple , Houngonji Temple. There Mr Nakamura took my kimono and placed it in the center of the main hall together with its long golden washi obi.
My kimono is called "Second Skin.” It holds a female body imprint, but hanging in the temple, it felt empty of my presence, any female presence.
Then Junko came. Like an ancient goddess, Kami of the flowers, she wore my kimono and slowly walked out in the blooming garden. Everett Kennedy Brown's archaic camera gave us a journey in the past, and my kimono was alive, at home.
Soon, another exhibition was arranged at the Thessaloniki Archaeological Museum. My well-traveled kimono returned to Greece for a second showing.
Between the marble statues in the garden of the Museum, a young girl is walking, wearing my washi kimono and looking like an ancient Greek goddess. She is my daughter. The kimono is no longer empty to me. The female presence is strong: the imprint, Junko, my daughter. And I feel like my presence is infused within it, moving with her…
Soon, another exhibition was arranged at the Thessaloniki Archaeological Museum. My well-traveled kimono returned to Greece for a second showing.
Between the marble statues in the garden of the Museum, a young girl is walking, wearing my washi kimono and looking like an ancient Greek goddess. She is my daughter. The kimono is no longer empty to me. The female presence is strong: the imprint, Junko, my daughter. And I feel like my presence is infused within it, moving with her…
Photo by Everett Kennedy Brown
I made another washi kimono, a purple one this time. It is dedicated to a legendary lady of the Heian period, the writer of "Tale of Genji,” Lady Murasaki Shikibu. Together, my two kimonos are waiting to travel to Lefkada, the birthplace of Lafcadio Hearn. Hearn was my main inspiration four years ago when I first started searching about Japanese mythology.
Photo by Maria Papatzelou
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Photo by Maria Papatzelou
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Photo by Maria Papatzelou
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My washi kimonos can't stand still. They keep traveling in time and space. And every time a beautiful lady wears them, her presence remains within the kimono, giving them a life of their own. Please, take me along! Forget me not... Kyoto is waiting... |
Photo by Maria Papatzelou
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Maria Papatzelou is a graduate of the School of Fine Arts of Thessaloniki, a visual artist, scenographer, co-curator of international art projects, radio producer and art teacher in Secondary Education. She lives and works in Thessaloniki. In addition to her 6 solo exhibitions, she has participated in group exhibitions in Greece and abroad. She writes Haiku poetry and her first book "Inner Connections of the Liquid Sky" was published in Japan with translation and comments by Professor Mr. Masashi Nakamura. Instagram: maria_papatzelou, FB: Παπατζέλου Maria Papatzelou, website/ blog: mpapatzelou.blogspot.com
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