Glimpses of Kofu

Thomas: "The muted colours, distinctive sounds, and chance encounters in these cooler areas began to inform my daily drawings and photographs"

Founded by artist Izumi Sakamoto in 2005, AIRY was created to support artists in developing new work while engaging with the local community, resources, and natural environment.

Located in Kofu, the residency also seeks to expand the local arts community by introducing them to contemporary art from around the world.

For the past four years, Izumi had primarily supported local artists and recent graduates, so my presence as an international resident marked a turning point. 

Before arriving at AIRY, I spent a couple of days in Tokyo, which set the tone for the month ahead.

On my first day, I visited several art galleries and connected with Yumi Goto at Reminders Photography Stronghold—a gallery, photobook archive, and space offering unique workshops and residencies.

I was able to deposit my 2020 book Screams Like Home into their archive and catch the last day of Tetsuo Kashiwada's exhibition WARASONO.

The exhibition, focused on our relationship with the landscape and the preservation of memory, left a lasting impression.

The way the work was curated—framed pieces placed over full-wall prints—gave the feeling of walking through a photobook, pulling my attention between the images and the space itself.

This experience heightened my awareness of both natural and curated environments, especially as I left the gallery and noticed the contrast between wild and cultivated plants in the city, highlighted by streetlights and the fading songs of cicadas. 

The next day, I travelled to Odawara to visit the Enoura Observatory, established by artist Hiroshi Sugimoto.

The site, with its carefully placed stones and historical artifacts, was a sensory feast, enhanced by the scents of citrus trees and burning incense.

A fossil cave, housing ancient fossils and tools, sparked thoughts about time and how we experience it. I found myself examining a palm tree frond fossil from 33 million years ago for an extended period.

Thomas: "The residency at AIRY was a profound journey of exploration and cultural immersion."

Sugimoto's large-format gelatine silver prints, installed in narrow hallways where reflections of the architecture and historical artifacts appeared within the images, deepened my contemplation of time and place. 

Catching the bus from Shinjuku to Kofu felt like a homecoming.

The endless cityscape gradually gave way to forest-covered mountains, winding rivers, and small villages, preparing me for a month of exploration in Yamanashi Prefecture.

Known for its delicious fruit, national parks, lakes, and Mt. Fuji, the area became both a place of inspiration and sanctuary.

I was based in Kofu, a city of about 200,000 people, situated in a basin surrounded by tall mountains.

Despite the scars left by WWII bombings, traces of Kofu's rich history—particularly as the old capital of the Kai province and the home of the powerful daimyo Takeda Shingen—remained and drew me in. 

A translator speaks on behalf of Thomas at the exhibition he held at AIRY

AIRY is housed in a three-story building that once served as a maternity hospital run by Izumi’s father.

The building’s history added depth to my residency, as Izumi noted that it continues to bring new life into the world, now through art. This sense of continuity resonated with my work, particularly in exploring themes of renewal and the passage of time. 

During my residency, I was also honoured to give an artist talk at the International College of Liberal Arts (iCLA) at Yamanashi Gakuen University.

Connecting with local and international artists and educators who had made Yamanashi their home was incredibly rewarding.

The talk allowed me to share insights into my recent projects and my experiences working at the Dunedin School of Art.

The students, enthusiastic about studio-based learning and practical experience, asked many questions about the day-to-day life of art students in Dunedin.

The following day, iCLA hosted me for a cyanotype workshop and a demonstration of large-format camera techniques. This interaction provided valuable hands-on experience for the students and helped deepen connections with the local community.

Izumi attended the workshop and invited two students to intern at AIRY during my exhibition, assisting with translation and fostering stronger ties with the local arts community. 

Thomas and students at the International College of Liberal Arts cyanotype workshop

The average temperature during my stay was 37°C, with some days reaching 40°C. I quickly learned to be comfortable with discomfort, structuring my days around visits to mountainous areas where the temperature was slightly cooler.

The muted colours, distinctive sounds, and chance encounters in these cooler areas began to inform my daily drawings and photographs, influencing how I engaged with the natural environment and the local stories embedded within it. 

On my first day at AIRY, I had a brief but memorable sighting of Mt. Fuji. This fleeting moment led to a meaningful discussion with Izumi about the concept of a "glimpse"—how it could encapsulate the essence of my upcoming exhibition.

Thomas chatting with an art educator at the exhibition he held during his residency

Given the short duration of my residency and the selection of work to be presented, framing the show as a "glimpse" into a larger body of work seemed fitting.  

The exhibition, titled "Caught A Glimpse," featured a diverse array of pieces that collectively aimed to explore different modes of time and establish a connection with the local landscape and how I responded to it. The show included: 

42 small black-and-white prints: Intimate, detailed views that invited closer examination and reflection. 

15 postcard-sized daily drawings: Created in gouache and pencil, these captured the daily observations and subtle nuances of my surroundings. 

6 larger colour photographs: Broader, more immersive perspectives that attempted to record the heat and air around specific objects. 

A cyanotype installation: Displaying a single hydrangea flower from Izumi’s mother's garden over 12 A4 sheets of linen. I left this work at the residency for Izumi to collaborate on with her textile practice.  

The installation was intentionally busy, reflecting the breadth of my engagement with the local landscape. Each component of the exhibition was designed to contribute to a larger narrative about time, memory, and the evolving connection with the environment. 

I had the opportunity to engage with various visitors, including other artists interested in my process, art history lecturers, a Buddhist monk who had spent the morning chasing boars out of his garden, and many other intriguing individuals.

I was particularly grateful to Amane, one of the interns, for providing swift translation and facilitating seamless, engaging conversations. 

During the exhibition, Izumi confided that if it weren’t for my communication during 2020-2023, she might have considered closing the residency. However, she now has renewed motivation and is fully booked with new and returning residents through 2025.

I was also honoured to be invited back for a longer stay, with the suggestion of a cooler season—an offer I’m eager to accept.  

Thomas: "I’ve returned with new friends and plenty of work that will feed into future projects and research"

The residency at AIRY was a profound journey of exploration and cultural immersion.

The title "Glimpse" not only reflected the brevity of the residency but also underscored the idea of presenting an initial, yet meaningful, view into a more extensive exploration of time and landscape.

Engaging with the local community, adapting to challenges, and showcasing a varied body of work have enriched my creative practice and deepened my connection with creative institutions and people in Japan.

This experience is still very fresh in my mind, and it's hard to capture all the key moments; however, I’ve returned with new friends and plenty of work that will feed into future projects and research.

The Foundation's Arts Programme brings Asia into the mainstream of New Zealand arts by inspiring New Zealand arts professionals to grow their connections and knowledge of Asia. It also supports the presentation of Asian arts in partnership with New Zealand arts organisations and events.

Our Arts Practitioners Fund provides support for experiential opportunities for individual New Zealand-based arts practitioners to deepen artistic and professional connections with Asia, including residencies, work placements, research tours and exchanges.