Exhibitions | 2008
Ghosts and Shadows: Human Bird House
September 6, 2008 – January 2, 2009

The Schuylkill Center for Environmental Education
8480 Hagy's Mill Road
Philadelphia, PA 19128
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Info of this Installation
Medium : Washi, Charcoal, Recycled Plastic,Barn
Installation size variable, the wall of barn: 26’ x 41’

Concept of “Human Bird House”

To begin with, the animal might have the space felt comfortable compared with the size of each body. The dwelling seems to make and each animal to have the size that rough resembles based on such a sense. Man seems to tend to want a dwelling (number more than the necessity) big more than the necessity at time. Keiko thought the barn to be a very strange still comparison. Keiko put tree rubbings of Japanese paper to over the barn. (Width were any more eight meters and height and was huge), distributed small twenty-five birdhouses to the surroundings. The address in Philadelphia and New York is applied to each birdhouse which the address of 25 trees that existed at each address gave the title though the tree rubbings of Japanese paper was put on the surface. It is the unique that there would be an address in man's dwelling oppositely though there is no address in the dwelling of the tree and the animal.


Keiko Miyamori’s Human Bird House will entail a large-scale tree rubbing collage on the front side of the building wall of the old barn in combination with other small bird houses in near vicinity of the barn. Miyamori, a Japanese artist with a background in traditional Japanese painting, says, “I am interested in creating imaginary spaces where unity between nature and humanity can co-exist. I communicate through sculpture, installation, drawing and painting.” Approximately fifty bird houses will be suspended around the barn, and several wooden birdhouses will be suspended in the shed area next to the barn. “The exaggerated size of ‘Human Bird House’ in contrast to the relatively small birdhouses situated next to it requires the viewer to allow for humour as well as partake in the abstract moment,” Miyamori says.