Nishiko was born in Japan, and lives and works in The Hague. She studied photography in Japan before deciding to go and study at the Royal Academy of Art in The Hague.
Nishiko’s work has a tendency towards aimlessness due to emphasis on the fragility of facts, which she uses to show that opinions, ideas and objects have no fixed definition or value in themselves. She’s interested in occurrences which are somewhat out of line with the normal state of affairs, such as something you’ve planned that doesn’t go off as you expected, or a paradoxical cultural similarity or difference, or an object that nobody notices, or minor personal incidents like burns, language problems or breaking glass. She focuses on the details and the way in which the process was completed. Her work starts by finding discord such as an enigma or something illogical, and she then applies a simple method of repetition in order to zoom in on the unstable elements. In respect of her work, it’s important for her to remain objective and neutral in order to create a link between the subject and the public. This link is more important than the art work itself. Through her work, she wants to ensure that the public re-experiences the process and places the subject within their own context and perceptions.
Nishiko started her Repairing Earthquake Project shortly after the 2011 earthquake and tsunami disaster in Japan. This project was the result of an intensive thought process relating to the disaster.
She works with musicians and other artists and craftsmen in many of her projects. For example, her Repairing Earthquake Project was part of the Tsukumogami exhibition at Oerol 2017. Tsukumogami is a collaborative venture with Japanese percussion ensemble Dadadadan Tenko.
About the art work
Repairing Earthquake Project
Boerderij Clevering, Noordpolderweg 1, Den Andel
After Oerol, Repairing Earthquake Project can now be viewed in Den Andel. The work consists of a number of objects that Nishiko found in the area devastated by the tsunami, which she then restored to their original condition. She repaired these objects in temporary workshops open to the public. The interaction between the local people at the disaster area and visitors to the workshops played a significant role during the process. During interaction with all kinds of people through the repair process, Nishiko was confronted with the rational miracle of nature and the people who had participated in the process of this personal experience.
Repairing Earthquake Project is a confrontational project because it relates to victims and social issues left behind after the catastrophe. Nishiko is happy that she’s had an opportunity to become involved in this way with individual people and institutions which have nothing to do with art. Her contacts with these ordinary citizens have made her more aware of the purpose of art and of artists’ responsibility towards society, and how to select a wide range of different layouts, shapes and methods.