Artist in conversation: Megumi Kiuchi
“the visual world we intuitively perceive is actually made to look that way by words”
Megumi Kiuchi is a contemporary visual artist whose work delves into the unconscious influence of language and grammar on human perception. Her artistic exploration centers on how words and their structures shape our understanding of the world, particularly our sense of sight.
Kiuchi's work reveals how the human eye instinctively seeks contours to define objects, a process that parallels how language categorizes and frames our experiences. She challenges this inherent habit of perception by questioning whether we can truly define and understand everything through language. Her art exposes the deficiencies and distortions within the landscapes created by our words, suggesting that what we see and describe may not fully encompass reality.
Through her thought-provoking visual art, Megumi Kiuchi unveils the evolving relationship between language and sight, inviting viewers to reconsider the landscapes they perceive and the unseen realities that words might obscure.
What initially inspired you to become an artist, and how did you develop your unique style?
According to my mother, I have loved drawing since I was two or three years old. It was my aunt who really inspired me to become an artist. My aunt is a woman of the generation that lived through the Second World War. She graduated with great difficulty from an art college with the aim of becoming an artist, and then continued her career as an artist while working as a professor at a university. At that time it was unthinkable for a woman to graduate from university and work, so I was encouraged by her strength to overcome various obstacles and do what she wanted to do, and I decided to become an artist myself.
I have always been interested in a wide range of subjects and have done research in a variety of fields including philosophy, brain science, psychology and history. I have also been strongly influenced by the work of John Cage, Robert Rauschenberg and Cy Twombly and their theories of art, and all of these influences have come together in my work.
In terms of subject matter, what themes or motifs do you frequently explore in your work, and what draws you to these topics?
The concept of my work is "the relationship between words and the visual world". We tend to think that we use words to think about things, but somewhere along the line I came to believe that words make our brains think about things. If we think in this way, it is possible that the visual world we intuitively perceive is actually made to look that way by words.
For example, 'identity' is not a word that has existed for a very long time, but it seems difficult for us today to think about ourselves without it. When a word is created, it can give a sense of existence without being real. Our language has evolved and reached a dimension where words give birth to new words. We may unconsciously move between the worlds of reality and virtual reality every day. Words have a unique power and I'm obsessed with it, so that's the big motivation for me to keep creating art.
Can you discuss any specific techniques or mediums you use to convey your artistic concepts effectively?
I often use collage techniques because I want the viewer to move between the space of illusion and the space of reality. In particular, I use collages of manuscript paper and notepads as symbols of the 'form of vision'.
What challenges do you encounter when trying to express the complexities of perception through visual art?
As a painter, there are times when I get tired of thinking about new expressions. There are also times when I chase the new and the novel so hard that I end up with something that makes me wonder if it is a work of art at all. Also, when I am making a work of art, I sometimes wonder how I should end it. Making a work of art is a constant process of struggle that wears down the spirit.
Can you share a specific piece of artwork that holds special significance to you?
The work "BLIND MODERN" is the axis of my own art. The work is a critique of the chaotic and heartless contemporary Japanese social system, where things that are out of focus from the perspective of the socially powerful are synonymous with non-existence. I made this work while thinking about housewifery in particular. I think this is the first time I have been able to express a cynical social critique while creating a beautiful piece of art.
How do you incorporate feedback from critics and audiences into your artistic practice, and how do you balance this feedback with your own artistic intuition?
What the viewer wants to see and what I want to express do not always coincide. There are also trendy expressions and there is a commercial aspect to the art world. Even if my expression is not accepted, I try to at least be understood. Sometimes it is necessary to aim for something that the viewer likes to a certain extent, while at other times I feel that I cannot compromise too much, so I find it very difficult to find a balance between the two. I listen to the viewer's feedback and carefully analyse whether their opinion is due to my own lack of expression or to their taste, and try to use it in my next production.
How do you stay motivated and inspired despite any setbacks or creative blocks you may encounter?
I haven't achieved anything great in the world of art yet, and if I stop creating now, I'll die like nobody, so I can't stop painting.
How do you feel about exhibiting your artworks with The Holy Art Gallery?
I am very excited because this is my first physical exhibition abroad, and UK is the first foreign country I have visited, so it is a place I have a very strong emotional attachment to. I am very happy to meet the people of London again through my work.
Looking ahead, what are your long-term goals and aspirations as an artist, and how do you plan to achieve them?
I definitely want to create a work of art that will go down in history before I die. I believe that good art has the power to move people as much as a politician's famous speech. I want to create explosive art that will revolutionise the world. At present, I would like to repeat the process of creating and exhibiting my works in many countries and share different values with viewers in each place.
What role does emotion play in your creative process, and and how do you aim to evoke specific feelings or reactions from those who view your artworks?
I don't often get emotional in the making of my art. Rather than expressing my inner self, I feel like I am experimenting with something through the medium of painting. It is really strange how the way you see things changes depending on the way you paint, the tools you use and the media you use. My work is still in the process of experimentation and my expression is not yet complete. I would be happy if viewers would just genuinely look at my work and find it beautiful or enjoyable.
