2019 Spring BankART 1929 Station Residency in Yokohama, Japan

From April until June 2019, Keiko Miyamori participated at BankART1929 Station for her Spring residency in her hometown of Yokohama, Japan. During her stay, she focused on two projects-- Tsunagu Book and her Portrait series.

During the residency, her Portrait series expanded. Three new works were added to the series over the course of two months. Her first work made and kept in her New York studio, Portrait of Myself no. 1, is a large linen canvas that combined black charcoal drawings, with rubbings made of gampi and washi. The work served as a basis for her new series, with her personal style of drawings finally reemerging into her larger works, after being only seen in her sketches. At BankART she completed three new portraits.

Two portraits were a continuation of her original, combining elements with white chalk drawings and washi rubbings made from around her childhood surroundings. Beginning with the linen foundation, which was used to transpose a tree rubbing from the site of the hospital where she was born, she visited the sites of the old playground she once frequented, the backyard of her childhood home, the path she took to elementary school, retracing her memories. The intimate nature of the series allows her to fully immerse herself into the work, creating connections between her own very specific memories and portrait, to the portrait of Takeo Arishima, who served as the subject of her third portrait at BankART, Portrait of a Novelist.

Her Tsunagu Book project is a sub-series of her original Tsunagu Books in 2009, focusing on her residency and the site grounds. During this series, she unites people through their favourite book. The participants favourite book is covered with washi with a tree rubbing from around BankART 1929 Station in Yokohama, Japan. Each book represents the participants favourite book, and the positive energy and emotion that is felt for their book, no matter the reason it is their "favourite."

Miyamori collected rubbings from not only around Yokohama and BankART itself, but also around her travels throughout Japan in conjunction to her other project, her Portrait series. Rubbings were taken from around the sites she visited for  Portrait of Myself No. 2, Portrait of Myself No. 3, and Portrait of a Novelist. Her Tsunagu Book series supported her travels around Japan during her residency but focused on the visitors and artists themselves at BankART.

At the end of June 2019, Miyamori released her interactive map for her Tsunagu Books project in Japan. You can check the interactive map here.

For further reading, and the official release notice in English and Japanese, you may read the articles here (map release) , here (Tsunagu Book project) and here (BankArt1929 conclusion notice).

You can also read a PDF of the booklet from the show here.


Booth #21, Keiko Miyamori’s workspace. Taken in early May, 2019.

Booth #21, Keiko Miyamori’s workspace. Taken in early May, 2019.