Born in 1994, Furukawa focuses on the relationship between artworks and their titles, creating paintings based on the generation of titles.

We interviewed her about her creation and herself.

What was your upbringing? 

I grew up in a place called Yumesaki Town in Hyogo Prefecture. It was a valley area where the mountains were very close, surrounded by rice fields, and a river flowed through the rich natured landscape. There were no trains, so I always had to take the bus to get to the city.

In 2006, the town was merged with a neighboring city, which led to a change in my address name even though the place I lived hadn’t changed. The shape of the town on the map changed as well. Although the view before my eyes remained the same, I felt an inexplicable suffocating sensation as if the landscape itself was being overwritten by external forces. I remember feeling a strong sense of discomfort. Perhaps because of this, I often dreamed of moving away when I was a child, and I had a fear of having to go somewhere different. When I actually moved at the age of 16, I somehow felt a sense of acceptance, as if saying, “I knew this would happen eventually.”

There was also a boy in my class with almost the same name as mine. We had the same last name and only one character difference in our given names. Sometimes, his actions were mistaken as mine, or our answer sheets were returned incorrectly. It was strange and curious to me how just a one-character difference in the name could affect the way I was recognized, almost as if I wasn’t entirely myself.

These experiences made me interested from an early age in the impact that names have on things, the fear of continuous change, and the inability to resist those changes.

When you grew up, what was your interest as a child/adult?

I was a typical bookworm, always interested in stories and spending my time in imaginary worlds. So, back then, I had no doubt in my mind that “I will make a living writing novels.” I also enjoyed the comedy shows on TV, and at the age of 12, I practiced writing by transcribing skits and stand-up comedy routines. Looking back now, I was just copying down scripts, but there was a sense of joy in being able to translate things into words. I also kept drawing all the time, although I don’t have many memories of being praised for it or getting good grades in art class. 

How did your career as an artist begin? 

Although I had exhibited my work prior to that, I consider the 2019 exhibition at the Hiroshima Art Center to be the starting point of my career. That was the first time I showcased staining artworks like the ones I am creating now. However, at the time, I didn’t even realize that the technique I was using was called “staining.” It wasn’t until my mentor in graduate school, Mr. Ryohei Suga, pointed it out to me that I learned about artists like Frankenthaler and Morris Louis, as well as various other aspects of art. I feel that everything I learned in graduate school has become the foundation of my current work.

What is your inspiration? 

It’s “words”. Do we truly understand the words we use? What is the difference between the words that make the front page of a newspaper and the notes scribbled in a private diary or while on the phone? I want to chop up those words on a cutting board and throw them into a big pot to mix them up.

Among words, I am currently particularly interested in “names.” Names are given by someone, and they can change depending on the time or situation. However, I don’t think names exist solely to distinguish one thing from another.

In the case of art, names—or titles—are usually given to a piece after it has been completed. The work is created first, and then a title is assigned to express what kind of artwork it is. I aim to reverse this relationship by first giving a title and then using it as the starting point for creating the work. By doing so, I hope to untangle the traditional power dynamic between the artwork and its title.

As for my actual creative process, I cut up sources like fan manuals, English vocabulary books, or friends’ diaries, shuffle the words into meaningless sequences, and use the resulting phrases as titles. Drawing inspiration from those titles, I then create my paintings.

Who is your favorite artist?

I am influenced by writers like Lydia Davis and Georges Perec, who deconstruct the meaning of words. I also find inspiration in American literature, such as J.D. Salinger, Raymond Carver, and William Burroughs, as well as in the songwriting of Lana Del Rey and Joni Mitchell. In the realm of painting, I am influenced by abstract expressionists like Helen Frankenthaler, Morris Louis, and Mark Rothko.

As for my position, I feel like I am on the fringe of both the writers who use the cut-up technique, represented by Dadaism, and the artists known for staining. I have a strong desire to push these traditions forward, even if only by a few millimeters.

What excites/fascinates you the most when you create your work?

It’s the process of cut-up. I cut out sentences from books with scissors, scatter the pieces on the table, and piece them together like a puzzle. Initially, it’s easy to make matches, but when only a few pieces are left, the combinations of words start to feel a bit off. I don’t mind if the grammar is strange or if the words sound odd, but when the meaning becomes too clear, it actually makes me uneasy. I feel closer to the essence of language with a text that remains incomprehensible no matter how many times I read it, rather than with orderly, logical words.

I also get excited when I’m planning my next artwork. There are countless pieces I want to create, but most require skills and time that I currently don’t possess. Still, just thinking about the next project keeps me so thrilled that I can’t sleep. When I start working on a piece, I often struggle, but it’s during these moments that creating becomes the most enjoyable part of it, and I feel like I’m getting closer to the mystery of “words” and the “names” of things.

Profile

Born in 1994, Hyogo-prefecture. Graduated in 2020 from the Faculty of Arts, Oil Painting Course, at Hiroshima City University, and completed a master’s degree in the Graduate School of Arts at the same university in 2022. The artist focuses on the relationship between artworks and their titles, creating paintings based on the generation of titles.