Artist: 清川あさみ Asami Kiyokawa Title: 1:1 Date: 2016 Material: sublimation transfer printing / thread / ink on paper Size: image: 30×30cm frame: 30×30cm





協賛 : 富士アクリル工業
協力 : 株式会社 細尾/ippudo Inc./HiRAO INC


清川あさみ 作家活動15周年によせて各界の方々100名にコメントをいただきました

1 : 1


The artist combines positive and negative versions of images she posted on Instagram, printing one onto photo paper, and the other onto a plane of warp threads. The two images are superimposed, leaving a small gap between the layers. Viewed from some angles, the negative and positive versions clash, producing a multi-layered expression of the psychological background and memories of the time when the posting was made.
Sponsored by FujiAcrylic

Title: 1:1 Date: 2016



Our Story

From her own collection, the artist selected 100 books that she has fond memories of, and produced embroidered drawings on pages that had left a particularly strong impression. The threads of the stories are gathered as if braiding old memories together one by one. As the individual threads connect, they transform into another story inside us.

Title: 私達のお話 Date: 2016


現代版TOKYO MONSTER。ファッション誌のスナップ写真を様々な糸を組み合わせて織り上げ、モンスターたちが東京の風景に混じり合い、曖昧になっていく様子を表現します。情報が溢れ混沌とした雰囲気が漂うなか、生きる喜びや目的を見出すために、彼らは当てのない旅を続けています。


A present-day version of TOKYO MONSTER. By taking snaps from fashion magazines and weaving them together with many different threads, the monsters blend in with the Tokyo scenery, evoking the growing ambiguity and obscurity of the subjects. In today’s chaotic atmosphere of information overload, young people keep on making aimless journeys in the hope of finding an objective or discovering the joy of life.
With cooperation from HOSOO

Title: タペストリー Date: 2016



People have always wanted to adorn themselves to change their appearance. To investigate why, the artist adopted as motifs street snaps from a fashion magazine of the 1990s, a time when she herself appeared as such an amateur model. Manifesting the complexes and vanities in the hearts and minds of the young people on the Tokyo streets, she likens them to monsters.

Title: TOKYO MONSTER Date: 2016



清川あさみ作品集「1 : 1」 全作品収録

5月発売予定 定価 ¥3,800(税別)
発行元: +81publishers / ディー・ディー・ウェーブ株式会社

先行予約受付中 ご予約はこちら




淡路島生まれ。2001年初個展。2003年より写真に刺繍を施す手法を用いた作品制作を開始。庭園美術館、水戸芸術館での単独個展など展覧会多数。代表作に美女採集、高橋コレクションに所蔵されている 「Complex」 シリーズがある。 「銀河鉄道の夜」 「狼王ロボ」などの絵本や 「caico」 「ひみつ」などの作品集など著書も多数あり、作家谷川俊太郎氏との共作絵本 「かみさまはいるいない?」が2年に1度の児童書の世界大会の日本代表作品に選ばれる。VOCA展入賞。各方面にて活躍の場を広げている。




東京都渋谷区神宮前 1-11-11 #608
Tel:03-5771-8808     Fax:03-5410-8858

About “1 : 1”

Amidst full of nature; close to the ocean and the mountains along the gleam of the stars, I grew up in the island of Awaji – and when I was nineteen I came to Tokyo to study fashion. It was while attending fashion school, where I first faced the material “thread.”

Thread appears in various scenes of life. It binds books and through embroidering images can appear anywhere. By knitting or weaving, thread becomes fabric and textile that form the clothes that we wear everyday. I was charmed by such a capacity of “thread.”

For me at the time, Tokyo was not only a place where people, things, and information gather, but also a place full of possibility; a place to occupy the position of creator and express myself. On the very first day I came to Tokyo, I was scouted in Harajuku by chance to be a model for a women’s fashion magazine. It was one of those instances allowing me to express myself.

While modeling I came to be interested in photography as a media. Photography isn’t simply a photographer and the subject – instead I wanted to know how the unconscious mind and the social conditions within the subject’s relation between the exterior and interior affect the result. If commercial photography which fashion magazines show is the “cover,” I became fascinated with the model’s own deep psyche which is hidden in the “back.”

For example, everyone has something about themselves they don’t feel good about. I’m short for a fashion model, so I had to devise every article of clothing by myself. When I appear on the pages of the magazines, even though I may look as though I am completely confident, I hold many internal conflicts. While experiencing such discomfort, I gradually started to feel as though such a complex became my own uniqueness and could be my strength.

After awhile, I began to choose my own clothes, planned the content of the story, and began producing the pages myself. Through photographing models in similar circumstance as myself, I thought about drawing the internal image with embroidery, envisioned from the external appearance. Piercing the photograph with needle; the act of sewing with thread is literally to go back and forth between the surface and the back. This is also similar to the way I turned to be the one to photograph from the position of being photographed.

Through creating dresses that fit the celebrities’ personalities and embroidering the portraits I photograph, the series “Bijo-Saishu” and “Complex” were created.

The recent series “1:1” takes the images saved in my Instagram as the motif. When I look at the photographs I took with my cell phone, I’m reminded of the particular feeling and the image of the place. Perhaps every image has some effect on the world, regardless of what it is. While thinking along those lines, I lightly tread beside the images and the texts to choose them.

There are many perspectives on the communities of social media. The images of the everyday sights that run through it could feel as if they are composed of several layers. In reality, among the overflowing information, both truths and lies are fused and exist together.

From these sentiments, the negative and the positive are reversed, and one of the images is printed on photographic paper, while the other is transferred onto the surface where only the warp threads are lined. The two layers are superimposed on top of each other with slight gap between them. Because of this, depending on the angle of viewing, the negative and the positive images compete in vision and represent my memory and the scenes of my psyche in multiple layers.

Every day, these layers cling to our bodies just like the clothes that hide some kind of essence (the complex), and exist in the shape tailored to each one’s individuality. And it is beautiful because it is complex.

Although the world seems so complicated just one “thread” binds and ties something precious. And the “threads” connect our minds and senses while weaving our memories and spinning our stories.

February 2016