Kei Takemura
Kei Takemura
▷ I heard that your work originated from a deeply personal moment of coincidence
“An accident that occurred shortly after I had settled in Berlin in 2000 became the catalyst for my work. While my washing machine was running, it suddenly lurched violently. All the plates and cups I had placed on top to dry crashed to the floor and shattered. They were German tableware pieces from the 1960s and ’70s that I treasured deeply. Instinctively, I quickly wrapped the broken shards in a sheer curtain that I had yet to hang by the window. That very moment became the direct starting point of my ‘Renovated XXX’ series.”
▷ Your process of ‘restoring’ broken objects is quite unique. What meaning does it carry?
“Rather than focusing on an object’s inherent function or physical form, I aim to preserve its embedded memories and traces with greater precision and care. By delicately sewing and wrapping the shattered pieces with silk thread, I hope to help us recall what has been lost, restoring forgotten sensations that linger at the threshold of memory. At one point, I took part in restoring Claude Monet’s ‘Water Lilies’, which had been damaged during World War II. That damaged painting, quietly transcending time, connected me to its original owner. In that moment, I was struck by the realization that human life is far shorter than the time borne by objects.”
Renovated Black Korean Vase, Korean black vase, silk cloth, Japanese silk thread, glue, 20x19x15cm, 2025
▷ Could you share why ‘silk thread’ has become a primary material in your work?
“While living in Berlin, I came to realize that the notion of ‘everyday life’ is far from universal. Silk thread was not a familiar material for most Germans. In Korea or Japan, however, silk is regarded as a rare and precious substance. By choosing silk thread as a central material, I aimed to weave a message that would carry forward into the next thousand years. This protein fiber, harvested from silkworm cocoons, can be preserved for over a millennium, and its structure—strikingly akin to human skin—is a quality worth reflecting on.”
▷ Could you tell us about the work you are presenting in this special exhibition and what you hope the audience will take away from the experience?
“For this exhibition, I’m presenting works that involve the ‘restoration’ of objects such as teacups from the Joseon dynasty acquired through online auctions. My works speak in hushed voices—one that requires the viewer’s full attention to truly hear. An Art fair is often a boisterous place, a vast forest teeming with artworks. Yet, I believe in the possibility of every individual’s seeds of curiosity and interest finding resonance with my work in unexpected ways.”
Renovated Ivory Buddha, IvoryThailand, Japanese Silk ThreadCloth, 17.5×3.7×3.3cm, 2025
