Artist Ibuki Kuramochi will present “Midori,” fusing the beauty and craft of live painting with the soul and rhythm of contemporary Japanese butoh dance, in a performance set for Saturday, Aug. 3, at Radiant Space in Hollywood.
Midoriis the Japanese word for green, and in this performance, Kuramochi will paint using the natural color of Japanese matcha (green tea) powder mixed with water, as well as Japanese sumi ink. Matcha is symbolic of Japan and also symbolic of nature and purity.
The word “choreography” is problematic for butoh. In the West, the term implies a set sequence of movements, but butoh is substantially different, with timing and movements completely improvised.
Part of Kuramochi’s costume will be made in collaboration with artist Alexandra Carter. The two will have open studio practices leading up to the performance, from July 31 to Aug. 2 at 5 p.m. each day at Radiant Space. Guests are invited to view the two artists while they transform the space.
Radiant Space is located at 1444 N. Sierra Bonita Ave., east of the Sunset Strip. Tickets are $17 in advance. Call (323) 522-4496 or visit www.radiantspaceLA.com.
The artist will also be hosting a discussion and vegan sushi dinner at the same location the following evening, Aug. 4 at 7p.m. The $45 ticket includes a beverage and collectible chopsticks.
Carter grew up on a cranberry farm and uses the juice as a source in her work and at times as a medium; elements of this fruit will be found in this meal, in addition to Kuramochi’s work in matcha.
A special package rate is available for those wishing to attend both the performance and the dinner.
Born in Japan, Kuramochi specializes in artwork for exhibition as well as in live performances,combining her live painting and her butoh dance. She studied butoh at the world-renowned Kazuo Ohno studio in Yokohama. She has held a deep interest and passion in painting since her childhood when she saw, for the first time, Ikuo Hirayama’s work about Silk Road art.
Kuramochi works largely in black and white, representing the beginning and nothingness. In her paintings can be found themes such as nature, the animal world in opposition with the human world, and eroticism.
Carter exploits the staining effect of cranberry juice on antique linens or pillowcases. Her work is an exploration of the psyche influenced by print media, collage, and performance. While riffing on themes of gender, fairytale, and masquerade, she manipulates the relationship between control and catharsis, visualizing one’s emotions, one’s craziness – in a way that can seem both pleasurable and painful.
