Born in 1988, Kinu Kamura is a young French-Japanese artist. She spent most of her studies abroad between Tokyo, Paris and London. She started her art studies at the Parsons School and finally got graduated from Central Saint Martins in 2011. After her degree, she settles in Paris and works in different field such as digital marketing for luxury brands, film production, set design and last but not least Tattoo... All these experiences have inspired her artistic process and make it what it is today.


    « Banksy didn’t destroy an artwork in the auction, he created one ». Alex Branczik, Sotheby's Head of Contemporary Art, Europe, London
    Until recently, the world has experienced major changes that increase the consumerist aspect of society. The consequences of which also affect the art market that has evolved similarly, responding to our fast growing consumption of goods.

  Initiated and maintained by the most influential names in the Art World, the speculative strategy of its market finally led to a financial bubble having no other effect but to break the direct and logical link between the object and its value. This phenomenon showed to the art world, its ability to either transcend the artwork or annihilate it. Challenging not only the value of Art today but also its definition, is it irrational to think of the art market as an art form itself? If so, wouldn't the latter emphase creation over deconstruction…

  This evolution has profoundly affected my understanding and my role as an artist? How do you carry on a "meaningful" and "valuable" practice today with this considerable predecessor that is Art History and this confusing contemporary art world as background?
    My artistic process faces this subject matter with factual observations. It questions the different attributions of value through originality, authorship and staging the artwork. Experimenting with the mechanisms of inspiration and of exhibition, it addresses how influenced the first can be by the act of visual interpretation? And what impact the second have when reading and therefore valuing an artwork? 
Analyzing elements from both past and present art worlds help me to find a balance where would coalesce the artwork subject matter, its object and its context to finally become one. 
 « The future is the result of a dialogue between the present and the past ». Paul Morand, L'heure qu'il est, 1938

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