Two Sacred Places in Dialogue: Interview with Japanese artist Miwa Komatsu
by Nina Chkareuli-Mdivani
In November of this year contemporary Japanese artist Miwa Komatsu challenged herself to bring her principles of harmonization into the context of a multicultural dialogue by performing live painting session in Mont Saint-Michel, France. Mont Saint-Michel is a culturally unique island in Normandy housing historical abbey by the same name included into the UNESCO list of World Heritage Sites list since 1979. Komatsu created another vibrant theatrical performance to celebrate a connection between this religiously important sacred space and Itsukushima Shrine commonly known as Miyajima located in Hatsukaichi City, Hiroshima prefecture, Japan. In 2009, a sister cities treaty was signed between Hatsukaichi City and Mont Saint-Michel to commemorate the 150th anniversary of diplomatic relations between Japan and France. Both places share extraordinary locales, almost floating on the waves. Miwa Komatsu further strengthened their bond by evoking her prayer for harmonization and peace.Nina: How did you feel painting live at a historic cultural site like Mont Saint Michel?
Miwa Komatsu: When I am painting live, I always value fulfilling the role that my soul longs for, understanding what it means to be called to paint at such historical place, feeling the people around me, the energy and the prayers that have been gathering there through time, painting without getting caught up in ego. At Mont Saint Michel, I trusted what I felt intuitively, so I just let go and painted.
Nina: How is this live painting session different from others (in the past)?
Miwa: It was my first live painting experience at a church. Although it was a cold and windy environment, I was able to paint with a very warm feeling, perhaps because I was attuned to the temperature of the energy in this area.
Nina: Please tell us about the theme of this work, the colors you used, and their meanings. Also, does your work have any symbolic meaning?
Miwa: The (pearl) white base will be donated to Hatsukaichi City, and the gold base will be donated to Mont Saint Michel City. The white background features a torii gate, a guiding crow, and a dragon flying toward the light from the sea in the center. On the gold background, a rainbow of light appears in the sky, and doves fly towards us from the bright world, a cross and several angels are also depicted.
Nina: I know that live painting is your primary way to connect with your audience and connect with the higher forces that guide you. How did these performance rituals begin? When was your first performance and how did you feel performing it? Do you feel like a spirit guiding priest?
Miwa: The live painting at Kukai Theater, a Noh theater in Fukuoka, was the first time I had ever done live painting in front of an audience. Azumino City in Nagano Prefecture was where I personally painted for the first time in a natural atmosphere surrounded by mountains. I unconditionally surrendered to the energy of nature and completed the drawing in just a few minutes. It was like interacting with the spirits that exist in nature.
Nina: In a world so pervasive with technology, is it really possible to escape from technology and be completely surrounded by spiritual beings like Divine Spirits?
Miwa: I believe it’s possible. Technology and spirituality may seem at odds, but they actually stem from the same essence. Buckminster Fuller, who sought to solve global challenges through technology, was deeply influenced by Ralph Waldo Emerson, a central figure in the transcendentalist movement—a spiritual philosophy. Recently, I visited Concord, associated with Emerson, and found it a marvelous place where nature and spirituality harmoniously blend. This spiritual sensibility, seeing the Earth as an extension of oneself, was also embraced by Stewart Brand, influenced by Fuller. Reflecting on Brand’s impact on today’s internet culture, I realize that spirituality and technology are not in opposition. I aim to deepen my understanding of this lineage and integrate it into my own work.
Nina: What is next in the works for Miwa? What will be coming up in 2024?
Miwa: ※Exhibition at Ashikaga City Museum of Art in February2024 ※My first Creation for Public Art Osaka’s Konohana Ward in March 2024
※After a break due to the Covid-19 I will hold the major solo exhibition in 4 years in Taiwan in March 2024.
