Tomomi Yamakawa

Tomomi’s group show

28 March – 9 May 2021  

artist archive


At that time I was running down the stairs in the subway station.


The word "everyday profane" I understand what it means from seeing my past works. I grew up in Japan in such a modern generation. Studied information design.

I haven't thought about religion until this strange year (the other use of profane). Now I feel it's an interesting intersection. Mostly Japanese religions are Shintoism or Post Buddhism. And I think their thinking is less negative than Christianity. not like we have to feel sin or Shintoism doesn't have s specific one human figured symbol as a god. Or there are too many gods spread all over. And if we think small gods are floating in the air and that can be like everyday too. Those gods don't occupy our head but we still feel something invisible and somehow we pray. I wouldn't say I'm religious. But as one of the materials, It's interesting. When human believe something how the believed thing is worked to them. It works with the feeling, significant. That kind of interest is similar to when I heard about signifier and affordance in the design class. But in the fact myself I still check my horoscope and I'm kind of gullible person or easy to be tricked hehe.  But not too deeply.

In general, in the working or making process I like to leave works from my hands. So using phenomenon works such as filming coin moves in unexpected ways in water or space readymade by zoo staff. like that can't manage completely, but using it or working with, including reconstruction.


The term ‘the everyday profane’ came to my mind when thinking about your work, your writing, and your gaze on public monuments or manifestations (such as the Interior photograph series, or your library work, or the the displacement of the vitrine with the video, filming the vitrine).. . my hunch about this is also about the will to exist, no matter the given conditions. This is also the use of the profane and everyday for me. I listen to these ideas and think about how each of them fold into each other, accumulating some kind of internal logic. Within it it all makes sense. But one step out of it you only see the maze. The exhibition, in this moment of writing, will have a language of objects from everyday life in the syntax of poetry; not as a direct documentation or treatment of the actual, but rather as an ephemeral intervention in the imagination and concepts of the conceivable possible in the objects. There is also the element one of coincidences, both immediate and contrived, as meditations of time. It feels special in that it feels like experiencing how it must have felt for you in the moment of thinking about these things. (the impossible and untouchable Subject - Expression, does it feels like entering into a space which is an expression of  the same space that the idea must have occupied inside the subject.)