Interview by Turkish newspaper
Thank you so much The Exhibitor Director Dear Safa .
I was very surprised by the thoughtful interview in this newspaper. I think it is a wonderful newspaper with high intelligence and spirituality for the future of our children.
As an artist, I envy the fact that Turkey has such a newspaper, and as a citizen of the earth, I am proud of it.
Cecilia K Art & Design Studio
トルコで行われる国際展覧会に合わせて行われた新聞にインタビューを掲載していただきました。
歴史的な建築物が残る、素晴らしい都市で展覧会が行われます。私は初めてトルコの展覧会に参加することにしたのですが本当に行ってみたい国です。いつか必ず行きたいですね。この展覧会のオーガナイザーSafa ありがとうございます。
感謝✨✨✨✨🙏❤️❤️❤️
※日本語は、英語、トルコ語の後に続きます
.
The interview was published in a newspaper that was held in conjunction with an international exhibition in Turkey.
The exhibition will be held in a wonderful city with historical architecture. This is the first time I have decided to participate in an exhibition in Turkey, and it is a country I really want to visit. I would love to go there someday. Thank you Safa, the organizer of this exhibition.
.
1: . Hello. Can we get to know you a little bit
Yes, please, of course.
I am a Japanese artist, born and raised in Tokyo, Japan. I have been blessed with an artistic environment since I was a child. I believe that literature and music in particular sparked my interest in the arts. I believe that my love for the arts kept me on the right path in life and kept my mind pure.
2: Are you a self-taught artist? Are you a self-taught artist or did you go to art school?
I am a graduate of Tokyo Zokei University. I graduated from Tokyo Zokei University, which I am very proud of, and I studied with some very good teachers. I studied mainly sculpture, but also painting and printmaking. I liked modeling and stone carving.
3. What techniques do you use in your work?
I don’t know if I can call it a technique, but it’s a way of controlling my inner consciousness and emotions in conjunction with my sense organs.
In terms of this abstract painting, I am painting on Japanese paper. Basically, I like to write on traditional Japanese handmade paper.
The other painting with the birds on it is on a hard board, and is meant to be a sculpture. I like to use watercolors, acrylic paints, oil pastels, and sumi ink.
4. Have you been able to participate in any artistic activities during the process of Pandemic (Covid19)? How did Covid19 affect you and your environment?
The artists have been able to participate in artistic activities despite the inconvenient circumstances. Last year, I exhibited in Italy and Monaco. I have also exhibited in India, Maldives, Turkey, Korea, and Japan in this year 2021.
The impact of the pandemic on artists must have been great. It is different for each artist, but in my case, it has allowed me to contemplate the meaning of creation, its essential human desire and the significance of the act.
5. How do you view art and artists in your country?
In Japan, art and artists are seen as special entities. This is not necessarily a good thing either.
6. How do people view artists? Are you satisfied with the way people view art?
In Japan, there is too big a gap between people for whom art is valued in their daily lives and those for whom it is not. To put it simply, I think that in recent years, art has not been as integrated into daily life in Japan as it is in other countries. I hope that it will become more of an everyday thing.
7. As an artist, how do you see your art and yourself in the future?
I would like to be the kind of artist who always pursues the conservative. I am a multi-type artist, so I am looking for such a place to present my work. I believe that this way of being an artist is, in a sense, a way of understanding the inherent potential of human beings through my work.
8: What is the theme that you use the most in your work?
It’s really about the development of spirituality. For me, artistic activities feel like a practice, similar to meditation. Of course it is a joy to touch and say beautiful things, but the joy is very deep. In the sense of tasting the creativity that comes from human beings.
9: Do you believe in the power of art to transcend people?
I am a student of Indian philosophy. I am studying Indian philosophy, and the word “art” originally refers to the essence of man, the Atman, which is beyond human knowledge. I believe that it should be so rather than asking if it can be surpassed.
10. Do you think that all children should be instructed in art?
Stimulating the senses is a very important act in developing a child’s personality, potential and essence.
In this sense, I think it is important for us to be familiar with art from childhood and to have good instructors. I have been teaching Art & Philosophy in India , Lebanon, Nepal and Japan Design school.
11. What is your perspective on art as a child or young adult?
The interpretation of my work is left up to each individual viewer. I believe that the interpretation should be unique to each person. I also hope that people will use my work as a guide to understand their own present.
12. Do you think there is a relationship between social development and art?
Of course there is a connection between art and social development. Depending on the time and the region, the importance, the way of being, and the expression will change, but I would like to link art to the development of a society with high humanity and spirituality.
13. What adventures are going on inside you and on the canvas while the painting is being made?
This is a very good question. It is as if I am on a journey to find the truth of the universe that only I can see. There I can find many emotions and secrets of the universe that I have never known before.
14: What do you know about Niğde?
I have never heard of this city before. I had never heard of this city before, and it was only through the organization of this exhibition that I saw its photos and videos. It is a very interesting place with historical buildings. I would like to visit there.
15. Do you have any plans to come to Niger in the future?
It has become one of the places I would like to visit in the future. I have friends in Turkey, so it would be nice if we could visit together.
16. What do you think about Turkey? Have you been here before?
Turkey is one of the countries I would most like to visit. Someone’s produce from Turkey’s rich land and sunshine can also be often eaten in Japan.
17. Which city would you most like to see in Turkey?
The most famous place is Cappadocia. Then there is the normal life. And I would like to visit an Islamic temple and taste traditional music.
18. Please tell us about your place of residence (your city, town, or village) from an artist’s point of view.
I live in Kamakura City, Kanagawa Prefecture, a city with many temples where traditional Buddhist art is preserved. In that sense, I think it is one of the most artistic cities in Japan.
Translated with http://www.DeepL.com/Translator (free version)
◯In Turkish
Japon Sanatçı Saito Cecilia Kaoru Röportajı
Ulukışla Havadis Gazetesi muhabiri Fatma Tan’ın Dünyaca ünlü sanatçımız Safa Büte’nin katkılarıyla dünyanın çeşitli ülkelerinde yaşayan ve yaşamlarını sanata adayan sanatçılarla olan röportajlarının bu haftaki konuğu Japon Sanatçı Saito Cecilia Kaoru oldu…
F. Tan: Merhaba. Sizi biraz tanıyabilir miyiz?
S. C. Kaoru: Evet, lütfen, elbette. Ben bir Japon sanatçıyım, Tokyo, Japonya’da doğup büyüdüm. Çocukluğumdan beri sanatsal bir ortamla kutsandım. Sanata olan ilgimi özellikle edebiyatın ve müziğin tetiklediğine inanıyorum. Sanata olan aşkımın beni hayatta doğru yolda tuttuğuna ve zihnimi saf tuttuğuna inanıyorum.
F. Tan: Kendi kendini yetiştirmiş bir sanatçı mısınız? Yoksa bir sanat okulundan mı?
S. C. Kaoru: Tokyo Zokei Üniversitesi mezunuyum. Gurur duyduğum Tokyo Zokei Üniversitesi’nden mezun oldum ve çok iyi öğretmenlerle çalıştım. Ağırlıklı olarak heykel, aynı zamanda resim ve baskı resim eğitimi aldım. Modellemeyi ve taş oymacılığını sevdim.
F. Tan: Çalışmalarınızda hangi teknikleri kullanıyorsunuz?
S. C. Kaoru: Buna teknik diyebilir miyim bilmiyorum ama bu, duyu organlarımla bağlantılı olarak içsel bilincimi ve duygularımı kontrol etmenin bir yolu. Bu soyut resim açısından Japon kağıdına resim yapıyorum. Temel olarak, geleneksel Japon el yapımı kâğıda yazmayı seviyorum. Üzerinde kuşların olduğu diğer resim ise sert bir tahta üzerindedir ve bir heykel olması amaçlanmıştır. Sulu boya, akrilik boya, yağlı pastel ve sumi mürekkebi kullanmayı seviyorum.
F. Tan: Pandemi (Covid 19) sürecinde sanatsal etkinliklere katılabildiniz mi? Covid 19 sizi ve çevrenizi nasıl etkiledi?
S. C. Kaoru: Sanatçılar, elverişsiz koşullara rağmen sanatsal etkinliklere katılabilmişlerdir. Geçen yıl İtalya ve Monako’da sergi açtım. 2021 yılında Hindistan, Maldivler, Türkiye, Kore ve Japonya’da da sergiler açtım. Pandeminin sanatçılar üzerindeki etkisi büyük olmalı. Her sanatçı için farklıdır, ama benim durumumda, yaratılışın anlamını, onun temel insani arzusunu ve eylemin önemini düşünmeme izin verdi.
F. Tan: Ülkenizdeki sanat ve sanatçıya bakış açısı nedir?
S. C. Kaoru: Japonya’da sanat ve sanatçılar özel varlıklar olarak görülüyor. Bu da çok iyi bir şey…
F. Tan: İnsanlar sanatçıyı nasıl görüyor? İnsanların sanata bakışlarından memnun musunuz?
S. C. Kaoru: Japonya’da günlük yaşamlarında sanata değer verilen insanlarla, sanata değer verilmeyen insanlar arasında çok büyük bir uçurum var. Basitçe söylemek gerekirse, Japonya’da son yıllarda sanatın diğer ülkelerde olduğu kadar günlük hayata entegre edilmediğini düşünüyorum. Umarım daha çok günlük bir şey haline gelir.
F. Tan: Bir sanatçı olarak sanatınızı ve kendinizi gelecekte nasıl görüyorsunuz?
S. C. Kaoru: Her zaman muhafazakarın peşinden giden türden bir sanatçı olmak isterim. Ben çok yönlü bir sanatçıyım, bu yüzden çalışmalarımı sunmak için böyle bir yer arıyorum. Bu sanatçı olma biçiminin, bir anlamda, insanoğlunun doğasında var olan potansiyeli çalışmalarım aracılığıyla anlamanın bir yolu olduğuna inanıyorum.
F. Tan: Çalışmalarınızda en çok kullandığınız tema nedir?
S. C. Kaoru: Bu gerçekten maneviyatın gelişimi ile ilgili. Benim için sanatsal faaliyetler meditasyona benzer bir uygulama gibi geliyor. Güzel şeylere dokunmak, güzel şeyler söylemek elbette bir keyif ama sevinci çok derin. İnsandan gelen yaratıcılığı tatma anlamında.
F. Tan: Sanatın insanlar üzerindeki gücüne inanıyor musunuz?
S. C. Kaoru: Hint felsefesi öğrencisiyim. Hint felsefesi okuyorum ve “sanat” kelimesi aslında insanın özüne, insan bilgisinin ötesinde olan Atman’a atıfta bulunuyor. Aşılabilir mi diye sormaktan ziyade böyle olması gerektiğine inanıyorum.
F. Tan: Sizce her çocuklar sanata yönlendirilmeli mi?
S. C. Kaoru: Duyuları uyarmak, çocuğun kişiliğini, potansiyelini ve özünü geliştirmede çok önemli bir eylemdir.
Bu anlamda çocukluktan itibaren sanata aşina olmamızın ve iyi eğitmenlere sahip olmamızın önemli olduğunu düşünüyorum. Hindistan, Lübnan, Nepal ve Japonya Tasarım okulunda Sanat ve Felsefe dersleri veriyorum.
F. Tan: Çocuk ve gençlerin sanatınıza bakış açısı nedir?
S. C. Kaoru: Çalışmalarımın yorumlanması her bir izleyiciye bırakılmıştır. Yorumun her kişiye özel olması gerektiğine inanıyorum. Ayrıca insanların çalışmamı kendi bugünlerini anlamak için bir rehber olarak kullanacaklarını umuyorum.
F. Tan: Sizce toplumun gelişimi ile sanat arasında bir bağlantı var mı?
S. C. Kaoru: Elbette sanat ile toplumsal gelişme arasında bir bağlantı vardır. Zamana ve bölgeye göre önemi, oluş şekli ve anlatımı değişecek ama ben sanatı insanlığı ve maneviyatı yüksek bir toplumun gelişmesine bağlamak istiyorum.
F. Tan: Bir resmi oluşturulurken sizin içinizde ve tuvalde nasıl bir macera yaşanıyor?
S. C. Kaoru: Bu çok iyi bir soru. Sanki sadece benim görebildiğim evrenin gerçeğini bulmak için bir yolculuğa çıkıyorum. Orada daha önce hiç bilmediğim evrenin birçok duygusunu ve sırrını bulabilirim.
F. Tan: Niğde hakkında ne biliyorsunuz?
S. C. Kaoru: Bu şehri daha önce hiç duymamıştım ve sadece bu serginin organizasyonu sayesinde fotoğraflarını ve videolarını gördüm. Tarihi binaları ile çok ilginç bir yer. Orayı ziyaret etmek isterim.
F. Tan: İleride Niğde’ye gelmeyi düşünüyor musunuz?
S. C. Kaoru: Gelecekte ziyaret etmek istediğim yerlerden biri haline geldi. Türkiye’de arkadaşlarım var, bu yüzden birlikte ziyaret edersek iyi olur.
F. Tan: Türkiye hakkında ne düşünüyorsunuz? Daha önce geldiniz mi?
S. C. Kaoru: Türkiye en çok gitmek istediğim ülkelerden biri. Türkiye’nin zengin topraklarından ve güneş ışığından elde edilen ürünler Japonya’da da sıklıkla yenebilir.
F. Tan: Türkiye’de en çok görmek istediğiniz şehir neresidir?
S. C. Kaoru: En ünlü yeri Kapadokya’dır. Sonra normal hayat var. Ve bir İslam tapınağını ziyaret etmek ve geleneksel müziğin tadına bakmak istiyorum.
F. Tan: Bir sanatçı gözüyle bulunduğunuz yeri (şehriniz, köyünüz veya kasabanız) anlatır mısınız?
S. C. Kaoru: Geleneksel Budist sanatının korunduğu birçok tapınağa sahip bir şehir olan Kanagawa Eyaleti, Kamakura Şehrinde yaşıyorum. Bu anlamda Japonya’nın en sanatsal şehirlerinden biri olduğunu düşünüyorum.
Japon sanatçı Saito Cecilia Kaoru Röportajının ingilizcesi
F. Tan: Hello. Can we get to know you a little bit
S. C. Kaoru: Yes, please, of course.
I am a Japanese artist, born and raised in Tokyo, Japan. I have been blessed with an artistic environment since I was a child. I believe that literature and music in particular sparked my interest in the arts. I believe that my love for the arts kept me on the right path in life and kept my mind pure.
F. Tan: Are you a self-taught artist? Are you a self-taught artist or did you go to art school?
S. C. Kaoru: I am a graduate of Tokyo Zokei University. I graduated from Tokyo Zokei University, which I am very proud of, and I studied with some very good teachers. I studied mainly sculpture, but also painting and printmaking. I liked modeling and stone carving.
F. Tan: What techniques do you use in your work?
S. C. Kaoru: I don’t know if I can call it a technique, but it’s a way of controlling my inner consciousness and emotions in conjunction with my sense organs.
In terms of this abstract painting, I am painting on Japanese paper. Basically, I like to write on traditional Japanese handmade paper.
The other painting with the birds on it is on a hard board, and is meant to be a sculpture. I like to use watercolors, acrylic paints, oil pastels, and sumi ink.
F. Tan: Have you been able to participate in any artistic activities during the process of Pandemic (Covid19)? How did Covid19 affect you and your environment?
S. C. Kaoru: The artists have been able to participate in artistic activities despite the inconvenient circumstances. Last year, I exhibited in Italy and Monaco. I have also exhibited in India, Maldives, Turkey, Korea, and Japan in this year 2021.
The impact of the pandemic on artists must have been great. It is different for each artist, but in my case, it has allowed me to contemplate the meaning of creation, its essential human desire and the significance of the act.
F. Tan: How do you view art and artists in your country?
S. C. Kaoru: In Japan, art and artists are seen as special entities. This is not necessarily a good thing either.
F. Tan: How do people view artists? Are you satisfied with the way people view art?
S. C. Kaoru: In Japan, there is too big a gap between people for whom art is valued in their daily lives and those for whom it is not. To put it simply, I think that in recent years, art has not been as integrated into daily life in Japan as it is in other countries. I hope that it will become more of an everyday thing.
F. Tan: As an artist, how do you see your art and yourself in the future?
S. C. Kaoru: I would like to be the kind of artist who always pursues the conservative. I am a multi-type artist, so I am looking for such a place to present my work. I believe that this way of being an artist is, in a sense, a way of understanding the inherent potential of human beings through my work.
F. Tan: What is the theme that you use the most in your work?
S. C. Kaoru: It’s really about the development of spirituality. For me, artistic activities feel like a practice, similar to meditation. Of course it is a joy to touch and say beautiful things, but the joy is very deep. In the sense of tasting the creativity that comes from human beings.
F. Tan: Do you believe in the power of art to transcend people?
S. C. Kaoru: I am a student of Indian philosophy. I am studying Indian philosophy, and the word “art” originally refers to the essence of man, the Atman, which is beyond human knowledge. I believe that it should be so rather than asking if it can be surpassed.
F. Tan: Do you think that all children should be instructed in art?
S. C. Kaoru: Stimulating the senses is a very important act in developing a child’s personality, potential and essence.
In this sense, I think it is important for us to be familiar with art from childhood and to have good instructors. I have been teaching Art & Philosophy in India , Lebanon, Nepal and Japan Design school.
F. Tan: What is your perspective on art as a child or young adult?
S. C. Kaoru: The interpretation of my work is left up to each individual viewer. I believe that the interpretation should be unique to each person. I also hope that people will use my work as a guide to understand their own present.
F. Tan: Do you think there is a relationship between social development and art?
S. C. Kaoru: Of course there is a connection between art and social development. Depending on the time and the region, the importance, the way of being, and the expression will change, but I would like to link art to the development of a society with high humanity and spirituality.
F. Tan: What adventures are going on inside you and on the canvas while the painting is being made?
S. C. Kaoru: This is a very good question. It is as if I am on a journey to find the truth of the universe that only I can see. There I can find many emotions and secrets of the universe that I have never known before.
F. Tan: What do you know about Niğde?
S. C. Kaoru: I have never heard of this city before. I had never heard of this city before, and it was only through the organization of this exhibition that I saw its photos and videos. It is a very interesting place with historical buildings. I would like to visit there.
F. Tan: Do you have any plans to come to Niger in the future?
S. C. Kaoru: It has become one of the places I would like to visit in the future. I have friends in Turkey, so it would be nice if we could visit together.
F. Tan: What do you think about Turkey? Have you been here before?
S. C. Kaoru: Turkey is one of the countries I would most like to visit. Someone’s produce from Turkey’s rich land and sunshine can also be often eaten in Japan.
F. Tan: Which city would you most like to see in Turkey?
S. C. Kaoru: The most famous place is Cappadocia. Then there is the normal life. And I would like to visit an Islamic temple and taste traditional music.
F. Tan: Please tell us about your place of residence (your city, town, or village) from an artist’s point of view.
S. C. Kaoru: I live in Kamakura City, Kanagawa Prefecture, a city with many temples where traditional Buddhist art is preserved. In that sense, I think it is one of the most artistic cities in Japan.
.
.
In Japanese
トルコの新聞によるインタビュー
1: . こんにちは。あなたのことを少しでも知っておきたいのですが
はい、どうぞ、もちろんです。
私は、東京で生まれ育った日本人アーティストです。私は子供の頃から芸術的な環境に恵まれていました。特に文学と音楽が、私の芸術への興味に火をつけたと思っています。芸術への愛は、私を人生の正しい道へと導き、心を純粋に保ってくれたと思っています。
2: あなたは独学で芸術を学んだのですか？あなたは独学で学んだのですか、それとも美術学校に通ったのですか？
私は東京造形大学を卒業しました。私は東京造形大学を卒業しましたが、これはとても誇りに思っていますし、とても良い先生方のもとで学びました。主に彫刻を学びましたが、絵画や版画も学びました。私は造形と石彫が好きでした。
3. どのようなテクニックを使って作品を作っていますか？
技法と呼べるかどうかわかりませんが、自分の内なる意識や感情を、感覚器官と連動させてコントロールする方法です。
今回の抽象画で言えば、私は和紙に描いています。基本的に、私は日本の伝統的な手漉きの紙に書くのが好きです。
もうひとつの鳥の絵は、硬い板に描いたもので、彫刻としての意味を持っています。使用する絵具は、水彩絵具、アクリル絵具、オイルパステル、墨汁が好きです。
4. パンデミック』（Covid19）の制作過程において、芸術的な活動に参加することはできましたか？Covid19はあなたやあなたの環境にどのような影響を与えましたか？
不便な状況ではありますが、芸術活動に参加することができました。昨年は、イタリアとモナコで展示を行いました。また、今年2021年には、インド、モルディブ、トルコ、韓国、日本で展示を行いました。
パンデミックがアーティストに与えた影響は大きかったのではないでしょうか。それはアーティストによって異なりますが、私の場合は、創造の意味、その本質的な人間の欲求、そして行為の意義について熟考することができました。
5. あなたの国では、アートやアーティストをどのように見ていますか？
日本では、アートやアーティストは特別な存在として捉えられています。これも必ずしも良いことではありません。
6. 人々はアーティストをどのように見ていますか？あなたは人々のアートに対する見方に満足していますか？
日本では、アートが生活の中で大切にされている人とそうでない人の差が大きすぎると思います。簡単に言うと、近年の日本では、海外に比べてアートが日常生活に溶け込んでいないように思います。もっと日常的なものになっていくことを期待しています。
7. アーティストとして、将来の自分のアートや自分自身をどのように見ていますか？
常に保守的なものを追求していくようなアーティストでありたいと思っています。私はマルチタイプのアーティストなので、そのような作品発表の場を探しています。このようなアーティストの在り方は、ある意味では、作品を通して人間が本来持っている可能性を理解することにつながると考えています。
8：作品の中で最も多く使用しているテーマは何ですか？
それは、まさに精神性の向上についてです。私にとって芸術活動は、瞑想に似た修行のようなものだと感じています。もちろん、美しいものに触れたり口にしたりすることは喜びですが、その喜びはとても深いものです。人間から生まれる創造性を味わうという意味で。
9：アートには人を超越する力があると信じていますか？
私はインド哲学を学んでいます。私はインド哲学を学んでいますが、「アート」という言葉は本来、人知を超えた人間の本質、アートマンのことを指しています。それを超えられるかどうかを問うのではなく、そうであるべきだと考えています。
10. すべての子供たちにアートを教えるべきだと思いますか？
五感を刺激することは、子どもの個性や可能性、本質を伸ばすためにとても重要な行為です。
そういう意味では、子供の頃からアートに親しみ、良い指導者に恵まれていることが大切だと思います。私は、インド、レバノン、ネパール、日本のデザイン学校で、芸術と哲学を教えてきました。
11. 子供や若い世代の芸術に対する考え方を教えてください。
私の作品の解釈は、見る人それぞれに委ねられています。その解釈は人それぞれであるべきだと思っています。また、私の作品を、自分の現在を理解するためのガイドとして使ってもらえればと思います。

12. 社会的発展とアートには関係があると思いますか？
もちろん、アートと社会の発展には関係があります。時代や地域によって、重要性やあり方、表現は変わってきますが、人間性や精神性の高い社会の発展とアートを結びつけて考えたいと思います。
13. 絵を描いている間、自分の中やキャンバスの上ではどんな冒険をしているのでしょうか？
これはとてもいい質問ですね。それはまるで、自分にしか見えない宇宙の真実を探す旅をしているかのようです。そこでは、私が今まで知らなかった多くの感情や宇宙の秘密を見つけることができます。
14：ニジェールについて何か知っていますか？
この街のことは今まで聞いたことがありません。今までこの街のことを聞いたことがなかったのですが、今回の展覧会の開催を通じて初めてその写真や映像を目にしました。歴史的な建物があり、とても興味深い場所です。訪れてみたいと思います。
15. 今後、ニジェールに来る予定はありますか？
今後行ってみたい場所のひとつになりました。トルコに友人がいるので、一緒に訪れることができたらいいなと思います。
16. トルコについてどう思いますか？以前に来たことはありますか？
トルコは一番行ってみたい国の一つです。トルコの豊かな大地と太陽の恵みを受けた食材は、日本でもよく食べられています。
17. トルコで一番行ってみたい街はどこですか？
最も有名な場所はカッパドキアです。あとは普通の生活ですね。そして、イスラム教の寺院を訪れたり、伝統的な音楽を味わったりしてみたいですね。
18. アーティストから見たあなたの居住地（あなたの市区町村）について教えてください。
私は、神奈川県鎌倉市に住んでいます。鎌倉市には、伝統的な仏教美術が保存されているお寺がたくさんあります。そういう意味では、日本の中でも最もアーティスティックな街のひとつだと思っています。
感性教育研究 Artlosophy by JUMA. 