“The idea of hybridisation informs Keiko Machida’s work, which relies on a fusion of the mineral, vegetal, animal, and human realms. By presenting nature as an indiscernible whole, the artist repositions her incarnations and transformations on a mythological and cosmogonical scale. Hybridisation also entails creative deformity and artificiality: measures and proportions become warped, an enormous head sits atop a frail body, colours appear faded or, on the contrary, saturated. Ceramics, which the artist experiments with as if it were a drawing opened out in space, is the most significant expression of this approach. The cooking process makes the alterations of the material even more visible, which she accentuates through the use of metallic oxides and enamels. The staging of hybrid or misshapen creatures and distraught or crippled figures from dreamlike or apocalyptic worlds becomes the starting point of gripping micro-fictions.
Keiko Machida’s work draws from the resources of periphery, both in its geographical and physical, as well as cultural and mental, aspects. A native of Osaka, a city that seems to turn its back to its metropolitan fate, the artist educated herself in France and Switzerland, living in the countryside or on the fringes of areas of influence. As a proponent of decentring, whether she chooses to work left-handedly or, more broadly, by taking into account contrasted approaches of a same phenomenon, her approach evades any dogmatic tendency. It is from the margins that her work – a combination of archaeology, assemblage, living artifices, natural fictions, and waking dreams – unfurls and flourishes.” […]
Excerpt from a text by Eveline Notter and Thierry Maurice, 2018.
Translated by Lucy Pons, 2019