Background and Work
Hiroko Takeda is a New York-based artist from Japan, where she trained in the tradition of the Mingei Undou (Japanese Arts and Crafts Movement) and began her practice in Kyoto and Tokyo. Takeda received an MA in Constructed Textiles from the Royal College of Art in London. She has exhibited in North America, Europe, Asia and Australia. Her work has been commissioned by leading architects and private collectors worldwide.
Prior to opening her Brooklyn studio, Takeda was senior designer at the Jack Larsen Studio in New York.
She has been an artist-in-residence at the Josef and Anni Albers Foundation, and has received the International Textile Award in Tokyo, the ICFF Editors Award, and the Jack Larsen Contemporary Textile Award. She has lectured on her art with Sheila Hicks in New York and is a guest lecturer at Tama Art University in Tokyo.
Exhibitions and Publications
Takeda has exhibited at Cavin-Morris Gallery, Colony, Egg Collective, Flux Factory, and Ise Foundation (NYC); Oriel Myrddin Gallery and Smiths Row (UK); Micheko Galerie (Munich); Nishi Galllery (Melbourne); Arteque and Ozone Design Center (Tokyo); and elsewhere. Her work has appeared in Confluences in Art: from the Old and New Worlds; Weaving – Contemporary Makers on the Loom; The Perfect Imperfect; Warp and Weft: Woven Textiles in Fashion, Art and Design; Cultured, Architectural Digest, Surface, Metropolis, Curbed, The New York Times, Dwell, Wallpaper, Souen, Interior Design, Kinfolk, Cool Hunting, OEN, Casa Vogue, Elle Décor, Bare Journal, Interni, among other book, journal and web publications.
"Originally trained to prioritize utility and craft, Takeda's interests in weaving evolved to view the medium as a means for self-expression focused on her conceptualization of the world. 'The world I see – like the world of warp and weft – has rules and constraints that are supposed to be good for us, but disorder happens naturally and the other side of tension is fluidity.' Takeda seeks to explore, manipulate and push the limits of her materials to realize her vision, which must be laid out with mathematical precision before she begins working on her handloom, while simultaneously welcoming that which is unforeseen. Her goal being to produce a work that is greater than what she could have initially imagined and in which a correspondence is achieved between light and dark, surface and depth, bound and unbound."
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