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Where it Begins

Once upon a time


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Rain Drop

Still Rise


yokoyama_back_in_time.htm yokoyama_flat_land.htm yokoyama_gathering.htm

Back in Time

Flat Land


yokoyama_house_and_trees.htm yokoyama_key.htm yokoyama_moon_and_us.htm

House and Trees


Moon and Us

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Forest (green)



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Back to home

Back to home 2


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Forest (blue)






























Kayo Yokoyama is a glass artist who was born in Japan and emigrated to Australia in 1997 to pursue a dream to study art. She graduated from Sydney University (SCA) with a Bachelor of Visual Arts (Honours) in 2001 before attaining a Master of Fine Arts in 2011.

Now based at Blackheath in the Blue Mountains, her previous series, Homeland, was a physical manifestation of her search for a sense of home across the different countries and cultures she has lived in. It concerned belonging in a physical sense, connected to a lived place, and was characterised by clear glass vessels cold-etched with trees, often with a small chair placed inside. Kayo had found her home, looking out at trees, connected to nature, and invited us in. Her new series, Sanctuary, is an evolution of this idea, in which the search for a home has been extended to a home not physical, but internal, unaffected by location.

Her distinctive etched trees are still the main decorative element, linking the two series both visually and conceptually. However the chairs of Homeland are no longer there, as these are not a home to sit in, they are the home within us, our inner room. All of the Sanctuary works feature streaks of colour that swirl around the form, on the horizon line of which Kayo has etched her forests of trees, so that the somewhat serendipitous colourings become evocative of a landscape. Some of the vessels also feature an etched line of buildings around the rim, with familiar elements of churches, fortresses and castles, yet even these remain unreal- archetypes of buildings and cities. They surround the vessels, protecting them, like our own self-erected inner sanctuaries.

Sanctuary also features a new form: large glass droplets hanging weightily from golden taps. “Water is the key to everything, everything starts with water”, Kayo enthuses. Water itself has no shape, and yet Kayo chose this form as one that instantly recalls water, archetypal more than real, just like her buildings. These forms are also etched with protective trees, to become small sanctuaries unto themselves, almost vibrating tangibly with the energy of the safe, changeless space contained within, the beginning of everything.