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March 2011     "Phaseof Red 2011" Espace Mirabeau, Tokyo, JAPAN

February 2011          "Одна четвертая (2/4)" Gellery DODO, Tokyo, JAPAN
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October 2009          “Одна четвертая (1/4)”Gallery DODO, Tokyo JAPAN
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July 2005   “Come and Go” Lewis Textile Museum Blackburn Museum and Art Gallery U.K.
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In 2001, I had shows in London and Carlisle, one of which included a workshop on Japanese paper. They were a part of 'Japan 2001' event. The theme of the show at Tullie House in Carlisle was the past and present of art in Japan. I had the entrance area of the museum to exhibit my works, while on the opposite side of the wall was 'Ukiyoe'.
In 2003, Mr. Paul Flintoff, current curator at Blackburn Museum and Art Gallery, visited Japan. I met him at a party hosted by the British Embassy. We enjoyed each other's company and ended up in a promise for me to see him in UK. My visit to UK was planned soon after the meeting. I flew to UK in July, 2003 and had a chance to meet him again there. It was when that I knew that the Ukiyoe, displayed at Tullie House in 2001, belonged to Blackburn Museum. In the course of our conversation, he got interested in my fabric works as well. He suggested me to work on fabric works as well as Japanese paper, as he thought it interesting to connect my works to the fact that Blackburn was prosperous with textile manufacturing in the era of the Industrial Revolution. Since then, I had kept in touch with him to finally meet him for the third time in April, 2004. The next contact happened was Ms. Rebecca Halle, another curator for Blackburn Museum, who offered me an exhibition and a workshop in summer of 2005. 
That is turned into 'Come and Go'.

This traffic of communication made between Japan and UK led me to the idea of 'Come and Go', though this was not the only come-and-go that happened during these years. It could be about the come-and-go of my present and near past time, as the fact shows that my works were in the same place with Ukiyoe in 2001. It could be another come-and-go about my new installation, where the trace of my Japanese paper work is incorporated in the form of a photograph. The illusion of the past is recorded by means of photography that is printed on a sheer organdy cloth. Behind the organdy, new version of Japanese paper works will be set up. The 'Come and Go' is about the come-and-go between reality and unreality and between materiality and remembrance. Creativity or delusion seems endless, however, they cannot be beyond the reach the discernment of creative entity. You see dreams in your creation. You see yourself seeing dreams in your creation, once you stand a little far away from it. This is how art is created. It is needless to say that Ukiyoe has become the 'come-and-go' in the history of western art in terms of the impact that had to it. It has nothing to do with my personal concern. However, looking back on my childhood, the Ukiyoe prints, hang on the walls in a gloomy dusty store in my neighbor Kamakura town, all pieces looked the same and grotesquely deformed to my child's eyes. Ukiyoe has been a great inspiration to the people who worked on advertising, calendars, and designs. I did not understand why it got so much attention. However, it was when I studied western art and rules of perspective that I could open my eyes to see how original the composition of Ukiyoe was, as seen in the masterpieces by Hokusai. This was my come-and-go experience about my culture. Then I cannot help wondering if this symbolizes Japanese culture as well. Traditional Japanese cultures of ancient times have still lived here and there in our time. At the same time, we cannot deny the feeling that we might have been cut adrift from them. Many of our old cultures were abandoned as we seek for the convenience of modern lifestyle. Craftsman has not existed any more. Craft works have become beyond our financial reach. People are too spoiled to be an apprentice, which asks you to be patient for many years. Now Tokyo is the city of 24/7 party to make you forget the anxiety. Small houses and small land of ours are filled with American materialism. For all that, we still cannot stop being the Japanese. All we do is just move forward without being distracted believing in our loyalty. The energy and frustration cumulated in our mind has been ballooned too big to hold. My installations speak up to catch the reality of life in this suspended world. It does not influence something. It is about 'come and go' that spawns a new creative energy through direct contact between the two entities that live or have lived or between person and art. This is what my work is about. by Chikako Maria Mori

September 2004     “Scalet Lotus”, VOW’s Bar, Nakano, Tokyo, JAPAN

September 2003     “Peal Off-2” Galerie 141, Nagoya JAPAN
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[ REAR] Vol.4 October 25th 2003

All red from corner to corner on the unfinished concrete floor. Looking hard into the room of red after red, various changes appear. Circular Japanese red paper of 24 cm diameter comes to life owing to wonderful textured surface of Japanese paper. The red releases the natural radiance of existence without being so strong, without being so shy. It is a striking view to see 2,000 pieces of Japanese red paper resembling fish scales. By design the natural light floating into the room is reflected by the red carpet in combination with the light on the ceiling. The essence of this work is that each paper shows its own expression in a direction of the light.

The overall red on the floor brings the image of blood circulation and pathos of humanity. This room is full of the magic of color that evokes various kinds of images, and at the same time, this is where passion of red color is restrained. Perfect order of papers placed on the floor provides minimal factor to the work and softens the passion that colors naturally have. The works that get down deep into the character of colors like hers requires us to face the color in person. Through the media of colors that the artist makes up, we step into a world unknown to anyone.

It was a little refreshing to learn that the artist intended to place each piece of paper one by one like molting process. I feel a sense of wonder when I imagine the newly born repeated and cumulated on the floor. The passage of time and phenomenon of transformation are captured in the atmosphere that is created by the red floor.

text by Akiko Harasawa:Curator of Nagoya City Museum;

September 2003    William Morris Gallery, Tokyo JAPAN

June 2003                 “Lake” Neue Garelie, Landshut GERMANY
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April-July 2001         Tullis House Museum, Carlisle U.K. Under the Japane 2001

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June 1999                 "Dieses Merkmal ist als etwas unsicher angegeben" Neue Garelie, Landshut GERMANY
September 1997    with Chihoko Sukegawa (poet) Galeria 7/8 Barmherzigkeit, Hamburg GERMANY
November 1991      "grimmer" Gallery-f, Tokyo JAPAN



October 2003             "The East-West Pataphysian Donnation-2" with Boris Niesrony(collaborate exhibit of documentation & slide lecture), Art Planning Room Aoyama, Tokyo JAPAN
May 2003  “Red Waltz” with Ona.B.2, Galerie Navratil, Praha CZECH
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press Kutur-aus-Ousterreich-in-Japan

January 2003           “Collaborate exhibition by Chikako Maria Mori and Ona B.”-1 –we will imaginate the
Nationalbibliothek Prunksaal in Tokyo-, Art Planning Room Aoyama, Tokyo JAPAN
June-July 2001         “Peel Off” with Momose Hiroyuki, Atrium Gallery, London U.K.Under the Japane 2001,
February 2000             "The East-West Pataphysian Donnation" with Boris Niesrony (collaborate exhibit of documentation & slide lecture), Gallery Aoyama, Tokyo JAPAN
November 1999        “Heart” with Shelly Goldsmith “British Art Now 1999” Gallery Aoyama, Tokyo JAPAN
June 1991                  "Posi" Kanagawa Prefectural Hall Gallery, Yokohama JAPAN



08.May.-06.June. 2014`red and more´ in St. Peter an der Sperr/Wr. Neustadt

July 2012 "on to red" Galerie der Keustlerberuf Sverband Bildender Keunstler Meunchen und Oberbayern e.v.
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February 2010          “Seoul-Tokyo, Korea and Japan which Woman See’s” Korean Cultural Center,Tokyo JAPAN

December 2008      “Fore Seasons –winter 2008-” Gallery DODO, Tokyo JAPAN
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April 2006 “MOVING” The Museum of Arts & Crafts ITAMI, Hyogo JAPAN

October 2005          “CAT 2005” Contemporary Art Trial, Kanagawa JAPAN
August 2005             “here-now” Artist Network Exhibition, Gallery Kaze, Tokyo JAPAN

October 2002          “Water of Okinawa” Hyakuna-beach, Okinawa JAPAN
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October 2002          “Abiko Open Air Exhibition 2002” Abiko JAPAN
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October 1997            “conekted” Garelie ARTicle, Koln GERMANY

September 1997       "Projekt Vystav skupiny C2 a Kurta Gebauera" Academy of Arts, Architecture&Design, Prague CZECH
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Feburuary 1995        "C2 -8 Japanese Artists" Clove 2 Gallery, London U.K.
June-October 1994    "AN ACTION" Gallery Ginza SanBanKan/Plaza Gallery/ Gallery Aoyama,Tokyo JAPAN
May 1993                  "Introspection" Public Gallery in the Setagaya Museum, JAPAN
July 1992                   "OKINAWA Open Air Exhibition 1992" Hyakuna-beach, Okinawa JAPAN
June 1992                  "The Pre-Event of OKINAWA Open Air Exhibition 1992" Gallery Aoyama,Tokyo JAPAN 
Decenber 1991       "The Plan" Kanagawa Prefectural Hall Gallery, Yokohama JAPAN


July 2005    “Come and Go” Japanese paper making work shop),” Lewis Textile Museum Blackburn Museum and Art Gallery U.K.

January 2003            “The Red Waltz” wish Ona B. Austrian Embassy / Cultural Forum, Tokyo JAPAN
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June 2001                  “The Art of Japanes Paper Making” Tullies House Museum.Carlisle U.K.Under the Japane 2001
February 2000                 "The East-West Pataphysian Donnation" with Boris Niesrony (slide lecture),
Gallery Aoyama, Tokyo JAPAN
July 1999                    “Process and Collaboration” Royal College of Art, London U.K.