Clara Spilliaert スピリアールト クララ
1993 born in Tokyo / 2009 Moved to Belgium
2015 Graduated from LUCA School of Arts, Ghent
Lives and works in Ghent, Belgium
1993 東京都生まれ / 2009 ベルギーへ留学
2015 ゲント LUCA School of Arts 大学院修了
After drawing very intimate diaries for 7 years, Clara Spilliaert explores different media such as video, animation, embroidery and ceramics.
Fascinated by the history of symbols in the formation of individual or collective cultural identities, she questions the role of gender, nationality and the human relationship with nature.
She is currently studying Glass and Ceramics at LUCA School of Arts (Ghent, Belgium).
2020年現在、ゲント LUCA School of Arts でガラス/陶芸科に在籍中。
2018- Additional BFA Visual Arts (Ceramic/Glass), LUCA School of Arts, Ghent
2014-15 MFA Visual Arts, LUCA School of Arts, Ghent
2011-14 BFA Visual Arts (Graphics/Drawing), LUCA School of Arts, Ghent
2018- ゲント LUCA School of Arts ファインアーツ ガラス/陶芸科 在籍中
2015 ゲント LUCA School of Arts ファインアーツ 視覚芸術科 修了
2014 ゲント LUCA School of Arts ファインアーツ 版画/ドローイング科 卒業
2020_ CAF Award 2020, Contemporary Art Foundation, Tokyo, JP
2020_ 100人10, Japan Association for Art Tech, Tokyo, JP
2020_ Condition Report, Vandenhove Centre for Achitecture and Art, Ghent, BE
2019_ Zomer residentie Carré, LUCA School of Arts, Ghent, BE
2019_ Expo nr.2, mdm nodigt uit, Ghent, BE
2018_ MUREN, 950 jaar Geraardsbergen, Geraardsbergen, BE
2017_ De vrouw en de bloem, Ghent, BE
2016_ Atlantis na Plato, Croxhapox, Ghent, BE
2015_ Shame, Museum Dr.Guislain, Ghent, BE
2015_ Jonge Kunstenaars 2015, Sint-Lukasgalerie, Brussel, BE.
2014_ Angst Essen Seele Auf, Zwarte Zaal, Ghent,BE/Bielefeld, DE
2014_ West-Flanders Art Prize, Be-Part, Waregem, BE
2014_ Dark Chambers – On Melancholy And Depression, Museum Dr.Guislain, Ghent, BE
2013_ ITHAKA 21 Monumental, Leuven, BE
2019_ Moving Word, Art Cinema OFFoff, Ghent, BE
2016_ Image Forum Festival, Theater Image Forum/Kyoto Art Center, Tokyo/Kyoto, JP
2015_ Rotterdam International Filmfestival, Rotterdam, NL
2013_ De Witte Muur, Sphinx Cinema, Ghent, BE
2020_ Klara presenteert “KUNST op de KAART Oost-Vlaanderen”, nr.7 Marbol Muurschildering
2018_ Knack Cultuur “ARTROZE”, Jan Braet (p. 91, 29/08/2018)
2018_ Het Nieuwsblad regio Dender, “Monumentale muurschildering verrijst in Boerenholsteegje”, Jan Lion (09/08/2018)
2015_ Schaamte, catalogus Museum Dr.Guislain Gent, p.153, 2015, Lannoo
Film distribution 映像作品収蔵
2015_ ARGOS Centre for Art and Media, Brussel, BE
A clash of two cultures is what drives me as an artist. On the one hand, the culture of Japan – the country of my mother where I grew up; and on the other hand – the culture of Flanders – the region my father hails from.
When I was sixteen, I made the move to Belgium from Japan. My artistic development took off in response to the necessity of assimilating a foreign culture and as a means of communication with people around me. Besides learning Dutch, I developed my own artistic language by daily confiding my mental images and experiences as drawings to paper. This very personal and graphical identity building was kept in motion by churning out intimate diary drawings.
Throughout the years, I grew increasingly interested in a broader and more cultural level of identity on which symbols play an important role. I am curious about how various ethnic groups deal with symbols. How does the identity of different civilizations differ depending on language, religion and customs? Specifically, how is their relationship with nature?
Motifs of plants and animals are universally used to bestow an identity on population groups. With the help of these symbols, one aspires after an ethnic identity, a sense of security while often putting on an air of superiority. Such motifs provide a fictional demarcation line: this is how far my property reaches, this is how far my family is extended or this is ethnic group I belong to. I find the psychology behind this usage of symbols truly fascinating.
In like matter, the feminine experience is always present in my work. I often refer to horticulture and the deep-rooted symbolism associated with flowers and plants and reaching back to matrilineal traditions of the Middle Ages. Recently, I took up the lion motif frequently appearing in European coats of arms and other heraldic insignia. I have created a series of contemporary coats of arms as a nonconformist interpretation of the Flemish identity. At the same time, I am calling the male display of power into question.
By researching traditional artistic language and by adding new elements, I am exploring the possibility of creating new symbols and new identities. At the heart of this endeavor is the question whether or not such new symbols can connect us or help us reinterpret and appreciate our relationship with nature.
I continue to work around this cultural identity formulation and the mental processes behind our urge to apprehend our origins and to belong to a community. How does man create world-wide symbols to foster feelings of security and belonging? Mankind ceaselessly searches for something it can identify with. What is it exactly? What kind of animalistic or botanical elements are permanently reappearing? And how does the recent fade-out of boundaries (of gender, nationality) affect established symbols? Symbols are alive. They are a keystone of culture and as an artist, I am actively engaged in their development.