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KAORI HOMMA

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Born in Japan. After 1st Degree in BA Fine Art from the Tokyo University of Art and Design,
Homma gained MA in Fine Art Sculpture Chelsea School of Art. Based in London, exhibiting
internationally.
Homma also teaches at CSM, and CCW at the University of Arts London and is one of the
directors of Art in The Nuclear Age CIC, a board member of charity trust Morphe Arts, and
one of the steering team members of Brockley Open Studios
Homma’s works are regular exhibited at Royal Academy Summer Exhibition

In my work, darker and distractive compulsions lie beneath the alluring image. The viol-
ence inflicted by fire makes these images possible, not by a pigment arranged on a surface

as you might see in the normal paintings. The technique is associated with secret corres-
pondence, known as Aburidashi in Japanese. It is often used in espionage, according to

Macrakis Kristie’s fascinating book !Prisoners, Lovers & Spies”, during the American Re-
volution in the 18th century, both British and American counterparts used it. In 1915,

German undercover spy, Carl Muller was caught red-handed with a lemon in his pocket.
Apparently, the incriminating lemon with pen nib marks was used as a piece of evidence

that led to his conviction. I am drawing images with this "invisible" ink and instead of con-
cealing, I am exposing the images to fire so that the heat etches images and becomes a part

of the fragile structure of the paper. Fire is one of the first technologies of humankind, and

the development of art and culture is rooted in the same instinctive urge to play with ele-
ments and create something new. Humans can create beautiful art and culture at the same

time cause profound damage to this planet. Fire has a compelling attraction, as it is beauti-
ful to look at and has the power to destroy.

My works are born out of my concern with the notion of imminent catastrophe, and invis-
ible threat in the landscape, particularly the post-2011 Fukushima Nuclear Fallout Dis-
aster. As we witness the catastrophes unfolding in various parts of the world, I think it is

pertinent to contemplate the duality of creativity and destructiveness inherent in us.
Somewhere along the line, we have lost our ways and entangled in this mess, and the path
is difficult to find. My work is conceived in this place of exile which is our reality, while
meandering in the land looking for the way back.

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