@Incinerator Arts Complex, 2008, aRtECYCLE, Installation award

インシネレーターアーツコンプレックスにて、2008、アーテサイクル展、インスタレーション賞受賞

The installation consists of found objects including, broken furniture and things my young son made and left them in my backyard. Strings which was used for previous show of White Nest, were reused here. All of these I found within 20 metres of her studio (a little shed), where my life begins every day. This is a narrative about recycling, transformation, the environment, growth and waste, and is also a microcosm of her life.

このインスタレーションは自分の家の敷地の中だけにあるもの（半径約20m）を素材にして作りました。壊れた家具、幼い息子が作って放り投げてあった板の切端、先のプロジェクトで使った残り物の日紐、ゴミ、等等です。すべて日常の営みから排出された物達ですが、これらにもう一度新しい世界を作ってもらいました。リサイクル、変容、環境、成長と廃棄物、そして自分の生活の小宇宙についての作品です。

Video work ( MP3, 75MB)  click : a journey with a weed truck

The exhibition Devilbend was curated to acknowledge and celebrate the unique qualities of the newly-created Devilbend Reserve in Mornington Peninsula, Victoria. I was invited as one of seven artists who presented works based on their interaction with and interpretation of the site.Weeds project explores the subjectivity and never-ending nature of ‘weeds’. The project has been constructed with sculptures, photograph, drawings and videos, which aims to examine the notion of Weeds from different perspectives.　For me, art making means a process of connecting the past, present and future to organic thinking. It is also a process of re-examination, and a visible interpretation of my life at this time. Also, to speak about everything’s interconnectedness and its invisible but continuous change in our life is a significant message. Weeds played the perfect role to embody these concepts.

“For the Devilbend exhibition, Kato explored the subject of weeds. Her ‘Weed Vehicles’, which keep going round and round (like weeds), aim ‘to address the infinity, continuity and endless circle of our life.’ They are made from the stems of weeds that she found in both Devilbend and at her home in the Dandenong Ranges.

The drawings that accompany the weed trucks show the same vehicles but from different angles.  Kato has commented that this draws attention to the fact that in many discussion about the environment there are many different points of view. She tries to show how subjective our definition of wed is and how, in turn, the very basis of our lives can sometimes be biased or one-sided.” Rodney James, Senior Curator of Mornington Peninsula Regional Gallery

この展覧会はモーニントン半島の新たに市民に解放されることになったデビルベンドリザーブを祝うために企画された展覧会です。その場所と関わり、自分なりに解釈して何らかの作品を作ることを課せられたそのプロジェクトに参加することになりました。私はそこのウィード（雑草、雑木）を主題にすることに決め、リサーチをして作品づくりにかかりました。このプロジェクトは雑草という主観性とそのいつまでもどこまでも続いていく、という性質をテーマにしています。オブジェ、写真、ドローイング、ビデオによって、このウィードについて様々な方面から考察して作品をつくりました。私にとってのアート制作というのは、過去、現在そして未来のつながりを有機的に考えなおす過程の一部であるといえます。それはまた、現在の自分の生活そのものを考え直し、見直す過程でもあります。そしてそれはすべてのものごとの繋がり、ものごとが常に変化している、というメッセージがこめられています。ウィードは、そうした考えを全面的に内包する生き物だと思います。

http://www.chacokato.com/weedsプロジェクト/

レインプロジェクト

Rain is a critical issue in Australia; and there are numerous culturally specific stories of rain around the world. Rain project is based on the research of world’s legends and stories about rain. It aims to change the landscape and viewer’s mindscape with hundreds of raindrops on the trees. It is a poetic exploration of personal, ecological and political issues relating to rain.

@Dianne Tanzer Gallery, 2003 Nov

ダイアンタンザーギャラリーにて、2003年11月

This body of work aimed to explore the potency of everyday life as well as a dreamy world, stories and memories. The images sawn by sawing machine and which are cut out and hand-sewn onto old bed sheets. Those fragmented images are collected as if they are some sort of found objects which were constructed for the final image. The process is reminiscent of automatism drawings which keeps crossing between real world and unreal world; conscious, unconscious and insane reality.

‘…While her drawings seem naïve, the sailcloth frayed, the bed sheets scuffed and stained, Kato’s works have a freshness and grace. They balance a fine line between awkwardness and elegance, beautiful in their imperfection.’ – Emily Howes, craft culture, 2003