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In Sleep I am Engulfed in Feathers (Rokurokubi) cut paper art by Patrick Gannonsize: 8 1/2 x 14 3/4 inches
medium: cut paper on wood

In sleep, we live strange and separate lives. In the case of Rokurokubi, that life happens to consist of short-range travel isolated northward of the shoulders. There are any number of legends detailing the motives and origins of this yōkai. I’m partial to the ones where Rokurokubi is unaware of her supernatural nature, waking with the memory of odd locations and wanderings beyond her natural boundaries.

In Sleep I am Engulfed in Feathers is the third piece, and first official yōkai, in a series which I think of as depicting the complicated and raw inner lives of unique women. The heron follows the clever fox and the dusky crow. Read the rest of this entry »

I typically avoid the camera lens like a vampire does the mirror. It’s not that I’m particularly shy, or afraid that the flash will suck out my dark, dark soul (it’s safely embedded in an ever-more decrepit portrait in the attic). Rather, I’m always a little put off that the me in video and audio looks and sounds just a smidgen different than the me in my head. Like a Bizarro version of my own fairly bizarre self.

Having said that, please enjoy this rarest of looks at the wily PaperCutter in its natural habitat; in this case, Fujikawa Kirie Art Museum in Yamanashi Prefecture, Japan. The first half of the video details the setting up of the Kirie of the World in Japan 2011 exhibition, while the second half focuses on the workshop. Best of all, they’ve edited my weird psuedo-Japanese so that it seems like I wasn’t talking gibberish.

Don’t forget, you have until September 25th to catch the exhibition.

In other news:

• There’s a new About page up! It’s terribly serious, complete with a new artist’s statement full of polysyllabic elucidation, a link to my art CV, and a Press section. There’s one or two links to interviews I gave, for those interested in hearing me talk about why paper is one of the great romances of my life.

• Speaking of my great romances, my nomadic wife and I have moved. We are no longer in the great and sprawling metroplois of Tokyo. Instead, we are now in the much more relaxed and somewhat less sprawling metropolis of Fukuoka. My new studio in our more spacious mansion is nearly set up, and I have started work on a very cool commission piece. As a bonus, my view is more epic than one meter of weeds and a stone wall. Maybe I can get some studio photos soon.

怪 @ Gallery G2, Ginza,  August 11 - 16, 2011怪 is…are… um… Kai. The dictionary defines 怪 as suspicious, shady, implausible, and my absolute favorite word I’ve never heard before: shonk.

But kanji characters aren’t so simple. Combine them with other kanji and you create new words, new realities. Like 怪獣 (Kaijyuu), great and monstrous beasts, or, alternatively, men in rubber suits stomping all over cardboard cities. Others are 妖怪 (yokai), 怪談 (kaidan = ghost stories – not to be confused with 階段, also kaidan but much more a stair than a scare), and 怪文書 (kaibunshou = objectionable literature / anonymous document). Thus ends the Japanese lesson.

Gallery G2 in Ginza, one of my favorite galleries in Tokyo, hosts , a celebration of the strange, the macabre, the odd, the weird, the alien, the ghastly, ghostly, fantastic and surreal. Naturally, they asked me to join, and I sent up a few of my more unnatural works.

Drop by the gallery, enjoy the oddities of a dozen twisted artists in a myriad of monstrous media. Take some pictures and send them to me, because, sadly, I am not in the Tokyo locale these days.

the details:

Name:

dates: Thurs. August 11 – Tues. August 16, 2011

Times: 12:00pm – 19:00pm

place: Gallery G2, Chuo-ku, Ginza 2-8-2
Tel: 03-3567-1555
website: here map.

日付: 2011年8月11日(木)〜8月16日(火)
時間: 午前12時~午後19時
住所: 東京都中央区銀座2-8-2日紫ビル1F
電話: 03-3567-1555

Kirie of the World in Japan 2011 @ Fujikawa Kirie Art Museum,  open until September 25, 2011 - photo albumClick the image above or here for the photo album.

Living, as I do, in Japan, I often find myself explaining to friends and art lovers why I won’t be able to attend the opening of my international shows. I’ve joked that my artwork travels more than I do. Which it does. And to make matters worse, it rarely sends a postcard or calls home after I let it loose into the world. So, with each exhibition on the other side of the world, I fret and worry until the work arrives safely, then sigh forlornly, wishing I could interact with all the people who come out to see the cut-paper work.

Happily, Kirie of the World in Japan 2011 is merely on the opposite side of the country, rather than the globe. So, on July 8th, I over-packed my bag (will I need a suit or a pair of speedos for the opening? Who can tell?) and hopped on the shinkansen zipping north towards Yamanashi prefecture and the Fujikawa Kirie Art Museum. The Fujikawa Craft Park is located in the mountains near Fuji-san, in some of the most beautiful country you’re likely to see. A family of herons were nesting in the trees outside my window at the Shimobe hotel – which, incidentally, has a superb onsen (hot spring) to relax in and boil away your stress.

The opening day and ceremony were on July 9th, and featured the wonderful harp playing of Miss Madoka Araki. It was a treat finally seeing, in person, the works of some of the cut-paper artists that I’ve admired from afar for years. In a shocking break from standard procedure, I brought my camera with me. And I used it.

The next day, the four artists in attendance (Tim Budden, Hina Aoyama, Masaaki Tatsumi, and myself) gave two demonstration workshops, showing our individual techniques and approaches. I should say that we gave three demos; two for the public right after a much more technical one for each other. Hina is a demon with a pair of scissors, zipping and slicing through designs and patterns so detailed I could barely see them. Tim’s sense of flow and composition is second only to the thought that goes into the metaphor and meaning of each piece. Masaaki has an enviable sense of color; watching his work come together is downright magical. I owe a big debt of gratitude to Hina Aoyama and our hosts at Kirie no Mori for organizing such a fantastic experience. The demos were really well attended. I had no idea that paper art had so many fans. Its inspiring and humbling to see people responding to the art and the artists in such a powerful way.

The exhibition is open until September 25th. Feel free to use it as an excuse to travel to Japan (or, if you’re already here, to get over to Mt. Fuji!). Seeing the work in person is an entirely different experience from these flat internet pictures.

The snippers, slicers, and visionaries responsible for the work (aside from myself) are:

I’ll have a ton of other news to share with you in the weeks ahead (I hinted at it a bit in my meandering prose above), and I’ve been hard at work on new art. Enjoy a tiny sample!

Patrick Gannon's cut paper art teaser

Kirie of the World in Japan 2011 @ Fujikawa Kirie Art Museum,  Thursday July 9 - September 25, 2011There is a whole world of Cut Paper Art and artists out there, representing a vast array of styles, techniques, experiences and imagination. Beginning this July, Fujikawa Kirie Art Museum in Yamanashi Fujikawa Craft Park will be showcasing the breathtaking artwork of eight visionary cut paper kirie artists. With work both delicate and bold, the artists take the techniques of paper cutting to the bleeding edge. Tradition mingles with contemporary thought resulting in a showcase of technical and artistic prowess.

The exhibition opens to the public on July 9th, followed by a series of demonstrations performed by four of the artists (including myself) on the 10th. We’ll be slicing and chatting in a variety of languages from 1pm-2pm, and again from 3pm-4pm. If you’ve ever wanted to witness the making of these intricate works of art, this is a great chance!

Special thanks goes out to Ms. Hina Aoyama (蒼山日菜) for organizing the event, gathering an incredible group of artists, and for allowing my loud and colorful pieces to stand as a counterpoint to the delicacy, beauty, and subtlety of much of the work. I am humbled.

Download the flyer PDF

the details:

Name: Kirie of the World in Japan 2011

dates: Sat. July 9 – Sun. September 25, 2011

Times: 9:30am – 5:30pm (closed Wednesdays)

place: Fujikawa Kirie Art Museum, Yamanashi Fujikawa Craft Park, Yamanashi-ken, Minamikoma-gun, Minobu-cho, Shimoyama 1597, 〒409-2522, Japan
Tel: 0556-62-5545
museum website: right here.

日付: 2011年7月9日(土)〜9月25日(日)
時間: 午前9時30分~午後5時30分(入館は閉館30分前まで)
休館日: 毎週水曜日(祝日を除く)
住所: 〒409-2522 山梨県南巨摩郡身延町下山1597番地
電話: 0556-62-5545

Dear Japan NY @ Art Connect New York Gallery, June 4th, 2011170 artists send 170 messages of hope and support to Japan.

We are still finding it hard to fathom the repercussions of the earthquake, tsunami, and Nuclear crisis here in Japan. While the earth has greatly calmed down, we still feel the occasional and alarming rumble. Despite the disaster having disappeared from the headlines around the world, it will be a long, long time until any sense of normalcy returns to northern Japan. Personally, I still feel phantom shaking nearly 3 months after the event.

I met Fumiha Tanaka in grad school, both of us having recently relocated to Georgia from Japan. While I’m back in Japan, she has settled in New York. In the wake of the disaster, she and a few of her friends took action and put together an amazing project called Dear Japan NY, a benefit art exhibition with all proceeds going to the Japan Society “Japan Earthquake Relief Fund”. Being one of the 170 artists who donated their work was important to me, and I hope that, in even a small way, it will help in the recovery.

Details:

Dates: June 4th, 2011 (one day only!!)
Time: Saturday 4-8 PM (From 5pm buyers can start taking the artwork home)
Place: Art Connect New York Gallery Space | Event website | map
Invitation: Download invitation pdf
Address: 491 Broadway, 5th Floor, New York, New York 10012
Read the rest of this entry »

I imagine that everybody in the world knows about the horrific events that have been going on here in Japan. Before I talk about my own experiences, I urge you to donate anything you can to help the people who were hit hardest.

My older brother works for an NGO which promotes Japan-US international relations, The Japan Center for International Exchange (JCIE/USA). They have partnered with the Center for Public Resources Development (CPRD) to launch the Japan NGO Earthquake Relief and Recovery Fund. They have put together an ambitious and powerful multi-part plan to assist those in immediate dire need now, and also to help rebuilding efforts in the weeks and years ahead.

 

Please consider giving whatever you can.

 

Thank you to all of you who have written to me here or on FaceBook out of concern for my safety. My wife and I are unhurt. Miraculously, so are most or all of my friends and acquaintances. At least as far as I’ve been able to track down.

I’ve been through a number of Earthquakes since coming here – it’s an inevitability living in Japan. This, however was unlike anything I’ve experienced, both in strength and duration. It began like any minor tremor, shaking the apartment gently and giving my wife and I time to calmly ask each other if we should do anything. And then it started to build. And build. It lasted so long that we had time to grab coats and shoes and turn off the gas space heater and run out of the house, all while the ground was still shaking.

The first couple of aftershocks would have been major earthquakes in their own right. By that point, we and a couple neighbors had gathered in a nearby park to try and calm down. The windows in the parks buildings were vibrating so much they looked like rippling water.

Since then, the aftershocks have kept everyone frazzled and on-edge for days. They have lessened in both power and frequency, but that only makes them more surprising when they strike. Like the minor one at 5 this morning which had me leaping out of bed and halfway out the door by the time I realized it was already over. I never knew a person could feel scared and foolish at the same time.

All of which is nothing compared to the horror of the quake and tsunami up north nearer the epicenter.

I don’t know what is going to happen in the days ahead. My original plan was to post more artwork from my recent shows over the upcoming weeks. For the moment, that doesn’t seem likely. The rolling blackouts, panic shopping (there’s very little food left on the shelves), the alarming situation at the Fukushima Nuclear Power Plant, and a dozen other things all add up to a lot of uncertainty and anxiety.

If I get the chance, and you are receptive, I’ll try to share a little more of this … experience. (For example, we just had another little tremor).

F.Michael Kloran is a friend from the local SCBWI. He is unfortunate enough to be in Sendai right now, one of the cities hit worst by the quake. The photos and words he provides in his blog give a vivid picture of what has been happening near the epicenter. It is frightening. And the fortitude he and the people around him have been showing is humbling.

Most importantly, GIVE

verge RETURN @ Ginza Gallery G2 opens Thursday July 22 - July 31, 2010Just off the plane from Verge Art Fair Brooklyn, Ginza Gallery G2 hosts verge RETURN. 14 visionary artists share their varied and spectacular creative spark.

There’s even a touch of cut-paper, including a brand new, never-before seen piece. Heck, I barely saw it. Finished it and sprinted for the Ginza-bound train.

Stop on by! This whole exhibit came into being so quickly that I don’t know when I’ll have a chance to get over to G2 myself. If you’re going, drop me a line and I’ll see if I can haul myself out of the studio in time to meet you.

Here are the details:

Name: verge RETURN

dates: Thurs. March 10 – Tues. March 15, 2011

Times: 12pm to 7pm (Last Day: Closes at 4pm)

place: Gallery G2; located in Ginza, just around the corner from Melsa (メルサ).
Tel: 03-3567-1555
gallery website / MAP: right here.

日付: 2011年3月10日(木)〜3月15日(水)
時間: 12時〜19時 / 最終日は16時まで
住所: Gallery G2 東京都中央区銀座2丁目8−2 日紫1F
電話: 03-3567-1555

To Breathe the Pale and Shining Moon cut paper art by Patrick Gannonsize: 8 x 10 inches
medium: cut paper on wood

I was tasked, almost a year ago, with the daunting task of making the rabbit sexy. You see, my incomparable wife is a rabbit; or at least of the year of the Rabbit. Among a handful of other adjectives, “sexy” struck me as the least bunny-like. This, despite the rabbit being a long-time symbol of fertility, birth, and rebirth. I think there might even be a contemporary phrase which references the rabbits’ reproductive proclivities. But… sexy? Without resorting to prying open a copy of Playboy?

Here in Japan, there is no man in the moon. There is, rather, a rabbit. Making mochi. All of which got me thinking about the waxing and the waning of the lunar orb, the traditional feminine symbolism of the moon, the fertility of those bunnies, and breath as life. Toss all those into my mental blender and here you go.

The rabbit is the fourth animal in the Chinese (and Japanese) zodiac.

This particular rabbit got snapped up pretty quick at the New Moon show at myplasticheart, but I believe there may still be a Tigger is need of a den.

Woe be me to not plug my other show, Outside, Looking In, at CAVE gallery as well.

Finally, a quick shout out to Mayuko Fujino, who has recently been schooling me on how to build a sexy bunny (some of these may be a tad NSFW)

Outside, Looking In and New Moon 2011 have opened in Venice, CA and New York, respectively. I’m told that both galleries were packed to the gills with impressive artworks and guests stopping by to drink them in. For those of you who, like me, have a couple of miles or an ocean separating you from taking part, both galleries have uploaded their online previews. Check them out!

Outside, Looking In @ CAVE Gallery online preview.

New Moon 2011 @ myplasticheart, nyc online preview.

◊ You may have noticed a couple of changes around these here parts. The website (and, to a lesser extent, PaperCuts) have been in need of an update for awhile. So, I’ve used the relative quiet of the past few weeks to do some major restructuring. For example:

  • The disappearance of the off-white background. Looked good on my monitor, but like mud on others.
  • An entirely new portfolio. This is the big one. The old one was too tough to update regularly, and the images were too small. Over the past few years, my artistic goals have changed, and the old gallery wasn’t working for my new direction. The galleries for 2010, 2009, and 2008 are up right now. I’ll get the previous years and specialty galleries up as soon as I have some time.
  • A new About page.
  • The first step in a new Links page. I’d like to collect a bunch more links; particularly cut-paper artists. So, if you are one, or you know one, comment below and I’ll try to fit it into the list.
  • A new Contact Form. Test it out for me, if you’ve got the notion.
  • The Blog got that nifty slideshow up top so you can see the important things right away. Plus, these very nice fonts, thanks to Typekit. The columns are wider so I can show you bigger pictures. And a nice new rabbit banner.
  • Finally, there are the plans for the future. Expand the links and portfolios, of course. Split the shop into a Japanese version and an international version. Localize the wordy pages for Japan. Make nifty new icons for the twitter and portfolio links in the sidebar. And probably a couple things I can’t remember right now.
  • Let me know what you think in the comments below.

    I’ll start posting about some of the artwork I’ve been holding back until the current gallery shows could get going. Until then, here’s a picture of my wall from last year’s show at the Ann Street Gallery. Enjoy!

    CUT IT UP! Contemporary Papercutters Exhibition  @ Ann Street Gallery, Newburgh, NY opens Saturday November 13 - December 18, 2010

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