Kimono

The red furisode kimono is a formal garment worn by young unmarried Japanese women, the first time at coming of age ceremonies when they turn 20. The process of becoming an adult is a rite of passage – leaving innocence behind and transforming into adult life. The round door that she is about to open represents the ensō circle, itself a symbol for unconsciousness and open-mindedness – a state of non-knowing but experiencing - a connection with the spiritual rather than the physical. She is letting go of a blue aquamarine, symbolising spiritual awakening and development. In the details of the painting, there are various creatures observing her and reaching out to her, as in a dreamlike state: the parrot reflects the power of the inner mind, of words spoken and unspoken, a reflection of self and of beauty. The fish was sacred in Greco-Roman mythology, where it held symbolic meaning of change and transformation. The reaching hand represents aspiration and desire.

There are many details to be discovered in this painting, between the cherry blossoms and in the furisode. I meant for you as observer to be drawn in to the story of this young woman and where she is heading, to enter into the realm of dreams and possibilities, up to the point we start to experience the dualities surrounding us…. Leaves transform into birds, flower blossoms turn into joyful creatures and even an angel appears amidst the twigs. The furisode is an explosion of form and colour and also here, in the details, things are not always what they seem.

A Japanese maiko walks through the ancient and narrow streets of Kyoto. When I saw her walking by, I was struck by the elegance and mystery surrounding her presence. Now captured in oil on canvas, I wanted to convey this young woman’s duality, with one foot in our world and the other stepping forward into her own world of Geisha. In contrast to the established Geisha, the apprentice maiko wears her kimono with a low collar showing off her neckline. The nihonashi two-prong white paint further accentuates the visible skin of her bare neck, a highly suggestive intimation of her sensuality. The maiko wears her white makeup as a mask, alluding with that hint of bare flesh that what is hidden is more beautiful.

The maiko is looking slightly left and down at the orange red stone in front of her. As the sign suggests, this is the Philosopher’s Stone, highly sought after by the alchemists to not only turn base metals into gold (transmutation), but also an elixir of life for achieving immortality. In the context of this painting, it also refers to the change of form: from an adolescent girl into womanhood, from a young woman into the form of a maiko, from a glamorous entertainer into a spiritual being. Although intended to be tongue-in-cheek, the term Magnum Opus (“Great Work”) therefore points primarily to the efforts to discover this stone of transformation. Converting base elements into gold (i.e. strive for earthly success) however does not lead to your destination. This is symbolised by the wall of gold that is facing the maiko. The unassuming grey stone at her left side points the way, with the small reference to Psalms 118:22: “The stone that the builders rejected has now become the cornerstone”.