A look into form and emotion: An analytical exhibition review of Kana Harada, a female Japanese-Texan sculptor.

Originally posted Oct 18, 2020.

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Kana Harada’s work is an ephemeral journey through her being’s connection to her surroundings and her ability to use what inspires her as her artistic muses; Mother Earth in all her glory drives the reason behind creation. Focusing on graphic design, drawing, and Japanese fine art, Harada studied at the Ochanomizu School of Fine Arts from 1979-83, in her hometown of Tokyo Japan.[1] Harada attributes the drive behind her mental model of creation to her prayer of peace and love for all of humanity, our planet, and every creature in the universe.

Presently living in the DFW metroplex, one of her most visually enticing pieces is currently exhibited at the Amon Carter Museum of American Art, entitled Foojin-God of the Wind. This piece is a mixed media and foam sheet piece. It has been delicately placed in the corner of an exhibit room with hard bright light creating amazing drop shadows on either side; which further propels Harada’s use of curvilinear form. One must look inwardly upon their own reflections of the god or gods that they believe in when visually consuming this piece. Yet despite the heaviness of the subject matter, a sense of delicate whimsy exists. A fragility exists in this piece, as in all of her work, which serves as a unifying element even across mediums. Yet, a strength is present that is denoted by the repetition of form and lack of bright hues.

The viewer is met with psychic lines that drive the eyes around the piece’s black edifice.[4] You can’t help but contemplate the universe, our core beliefs, and the fragility that we balance our daily lives upon when confronted by this piece.

“My work is the embodiment of my prayer for peace and love for humanity, mother earth, the universe, in short, all of us.”

Harada uses elements that surround her daily life, which give her inspiration when creating. She connects with the environment by paying acute attention to the constantly changing sky and environment. She is particularly inspired by the natural world that surrounds Mt. Fuji in Japan. Harada, on her website [1], mentions she finds a deep connection to the elements—specifically the immensely lush forests—that surround Mt. Fuji. This area is full of deeply peaceful and mediative elements, which gives Harada a sense of connection to our planet. She said, “I express this through what inspires me: the ever-changing sky, the spirit of the trees and the wondrous flowers I have encountered in the lush forests at the foot of Mt. Fuji and across the U.S...” [1] this deeper connection to nature draws the viewer/s in, especially due to the current status of world politics, beliefs about global warming, and every instrumental outcry for the reduction of humanities damage to our planet.

There is something deeply emotive about how Harada creates and how her life drives her creation. I find myself deeply moved and enthralled when viewing her work. Kana Haradas’ use of conceptual, creative, artistic, and technical knowledge demonstrated within her work gives me an infinity of memories from my own life that leave me wanting more. This work is for all of humanity, not only for artists; this is just one of the things I deeply admire about Kana Harada. This piece leaves me thinking about the current political and environmental crisis the United States is currently struggling through in 2020.

Works Cited

  1. Harada, K. (n.d.).KANA HARADA. Retrieved January 31, 2018, from http://kanakanakana.com/ index.html

  2. Harada, K. (2008). Foojie-God of the Wind [Foam Sheet and Mixed Media]. Commanding Space: Women Sculptors of Texas, Amon Carter Museum, Fort Worth, Texas.

  3. Lauer, D. A., & Pentak, S. (2011). Design Basics (8th ed.). Boston, MA: Wadsworth Cengage Learning.