MIKI NITADORI
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  • Artist statement
  • Visual works
    • Odysssey : reflect
      • Odyssey : reflect Exhibition / Installation 2014-2020
      • Odyssey : reflect orginal works 2013 -2015
      • Odyssey : reflect artist book 2014 - 2018
      • Post-script 2013 - 2018
      • A-lien Pacific 2018
    • Combat : Manual for daily survival original works 2003 -2008
      • Combat exhibition 2008
    • Blond Ambition 2008
    • Triumph 2004
    • seesaw spotting 1997-2001
    • Imprint for living : love and loss
      • Hale 2010 / 2023
      • Gratitude 2017
      • Catherine's Pier 2017
      • Transform part one 2010
        • Transform origin 1895 - 1960
      • Looking for "tree in the sun" 2010
      • Interface 2010
      • Paradise lost 2000, 2005
      • Mini video 2007, 2010
    • project propositions
      • Ecology & waste
      • Textile as a form of Cultural heritage & Community
  • Community, Residency & Workshops
    • Writing of light
    • Combat: lockdown
    • Aloha
    • Creating an exhibition
    • Samsara in Arcadia
    • Tigers, lions, dragons, dolphins, rising sun and beautiful moon shining
    • Big scare
    • Combat: Iolani
    • One boy and twenty girls
    • Sing & See
  • Participate & Collaborate
    • Timelesshugs
      • Timelesshugs: August - December 2015
      • Timelesshugs: January - February 2016
      • Timelesshugs: Arles 2016
      • Timeless hugs: Bandstand
    • Combat in progress 2008
    • A-lien cuisine 2018
    • Aloha Phantasm 2015
    • Humility Quest 2014
    • one night in the gallery 2015
    • Mini dictionary of aqua-humility 2015
    • Slapping 2015
    • Slurp piece : Eat noodle or die 2015
    • I am humility 2015
  • Organization & Curation
    • Photography?Why?
    • L'anti chambre
    • Watashitachi-Nous
    • Tohoku
  • Workshop & Conferences
  • Contact
  • Home
  • News
  • Profile
  • Artist statement
  • Visual works
    • Odysssey : reflect
      • Odyssey : reflect Exhibition / Installation 2014-2020
      • Odyssey : reflect orginal works 2013 -2015
      • Odyssey : reflect artist book 2014 - 2018
      • Post-script 2013 - 2018
      • A-lien Pacific 2018
    • Combat : Manual for daily survival original works 2003 -2008
      • Combat exhibition 2008
    • Blond Ambition 2008
    • Triumph 2004
    • seesaw spotting 1997-2001
    • Imprint for living : love and loss
      • Hale 2010 / 2023
      • Gratitude 2017
      • Catherine's Pier 2017
      • Transform part one 2010
        • Transform origin 1895 - 1960
      • Looking for "tree in the sun" 2010
      • Interface 2010
      • Paradise lost 2000, 2005
      • Mini video 2007, 2010
    • project propositions
      • Ecology & waste
      • Textile as a form of Cultural heritage & Community
  • Community, Residency & Workshops
    • Writing of light
    • Combat: lockdown
    • Aloha
    • Creating an exhibition
    • Samsara in Arcadia
    • Tigers, lions, dragons, dolphins, rising sun and beautiful moon shining
    • Big scare
    • Combat: Iolani
    • One boy and twenty girls
    • Sing & See
  • Participate & Collaborate
    • Timelesshugs
      • Timelesshugs: August - December 2015
      • Timelesshugs: January - February 2016
      • Timelesshugs: Arles 2016
      • Timeless hugs: Bandstand
    • Combat in progress 2008
    • A-lien cuisine 2018
    • Aloha Phantasm 2015
    • Humility Quest 2014
    • one night in the gallery 2015
    • Mini dictionary of aqua-humility 2015
    • Slapping 2015
    • Slurp piece : Eat noodle or die 2015
    • I am humility 2015
  • Organization & Curation
    • Photography?Why?
    • L'anti chambre
    • Watashitachi-Nous
    • Tohoku
  • Workshop & Conferences
  • Contact

Hale (2010) edited 2023

Hale is a Hawai'ian word that means
1. House, building, institution, lodge, station, hall; to have a house.
2. Host, hospitable person

When I was five, I used to draw a one-story house with two vertical windows that looked like eyes, a door in between the two eyes like a nose, and triangle hair. This was my ideal house.

Between my 20's to '30s, I often visited Puʻupiha Cemetery. It was located in Lahaina, Maui, Hawai'i where I partly grew up. It is a place that I call home, where it constantly showed me what I could become. As time passed, I became desperate to find my family with whom I could share laughter and belonging. A Home. The Cemetery comforted my loneliness. I could feel a warm sensation in my body by visiting the passed souls. Some homeless people used to live there too. They asked me what I was doing. And conversations moved into delirious religious Jesus related issues that became a noise, distraction from my experience.  A cemetery is a place of care where we express our love in silence.  The Cemetery is in sand dunes, constantly moving; the graves shifted position. These anonymous tombs of unknown people's once had a name yet most likely were forgotten between the cycle of life and death. Finding the nameless graves was like a mirror for my existence. One day in the dune, I met a skull that greeted me. One of his leg bones accompanied him. I was frightened and touched at the same time. In life, the only constant element is movement. Death represents stillness. When Remains of life mingle with life movement, they feel like the door opens between two worlds.

The Hale, my house, also changed forms. It became like a crushed spaceship where communication between two worlds was possible. 

I cherish the time I met people. Meeting people opened my life. Uncles, aunts, grandma, nephews, and nieces of diverse generations could be found. These men and women that I admired. Some meant much more to me than just a meeting. Many have passed away, and many are still alive. They all gave me a moment to be with them.

I have grown up to become complex. Complex in the ways I thought and complex in the way I worked. In some ways,  I wanted to return to the essentials and grow based on the most precious experiences. I am curious if I can do it. Losing loved ones who whisper to my ear of what I may have missed by taking what was given to me for granted.


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©Miki Nitadori 2022, All rights reserved
  • Home
  • News
  • Profile
  • Artist statement
  • Visual works
    • Odysssey : reflect
      • Odyssey : reflect Exhibition / Installation 2014-2020
      • Odyssey : reflect orginal works 2013 -2015
      • Odyssey : reflect artist book 2014 - 2018
      • Post-script 2013 - 2018
      • A-lien Pacific 2018
    • Combat : Manual for daily survival original works 2003 -2008
      • Combat exhibition 2008
    • Blond Ambition 2008
    • Triumph 2004
    • seesaw spotting 1997-2001
    • Imprint for living : love and loss
      • Hale 2010 / 2023
      • Gratitude 2017
      • Catherine's Pier 2017
      • Transform part one 2010
        • Transform origin 1895 - 1960
      • Looking for "tree in the sun" 2010
      • Interface 2010
      • Paradise lost 2000, 2005
      • Mini video 2007, 2010
    • project propositions
      • Ecology & waste
      • Textile as a form of Cultural heritage & Community
  • Community, Residency & Workshops
    • Writing of light
    • Combat: lockdown
    • Aloha
    • Creating an exhibition
    • Samsara in Arcadia
    • Tigers, lions, dragons, dolphins, rising sun and beautiful moon shining
    • Big scare
    • Combat: Iolani
    • One boy and twenty girls
    • Sing & See
  • Participate & Collaborate
    • Timelesshugs
      • Timelesshugs: August - December 2015
      • Timelesshugs: January - February 2016
      • Timelesshugs: Arles 2016
      • Timeless hugs: Bandstand
    • Combat in progress 2008
    • A-lien cuisine 2018
    • Aloha Phantasm 2015
    • Humility Quest 2014
    • one night in the gallery 2015
    • Mini dictionary of aqua-humility 2015
    • Slapping 2015
    • Slurp piece : Eat noodle or die 2015
    • I am humility 2015
  • Organization & Curation
    • Photography?Why?
    • L'anti chambre
    • Watashitachi-Nous
    • Tohoku
  • Workshop & Conferences
  • Contact