The Monoha movement of the late 60s and 70s was all about viewing the everyday worldas it is, directly and unfiltered.
Their goal was to reduce the role of the artist and emphasize therelationships between materials and environment.
They accomplished this through the placement of common materials and objects in everyday local settings. Monoha artistsmanipulated the relationship between object and environment, both spatial and conceptual; notthe materiality of the objects themselves.
They rejected the traditional arts, such as painting,with the argument that only through the simple and mundane could one transcend illusions.
Furthermore, they believed “the artist should not make things, but merely show them as theyare.”
Kodama embraces the Monoha idea that image representation is flawed. She operatesunder the pretense that ferrofluid more accurately represents reality than images; that materialsand r eal forms are inherently more powerful than images. She states that “many artists havecreated surreal illusions in pictures or moving images. But those were imaginary.”
Thefundamental difference between representation through image and through ferrofluid, or thr oughany other physical material, is that ferrof luid can take on three dimensional form and true surfacetextures; images only provide two dimensional representations of forms and textures. In terms of
Thomas R.H. Havens,
Radicals and realists i n the Japanese nonverbal arts: the avant-garde rejection of modernism
(Honolulu:University of Hawai‘i Press, 2006), 190.
Janet Koplos, "Extensions of the Ordinary,"
Art in America
88, 4 (2000): 141.
Sachiko Kodama and Minako Takeno, “Protrude, Flow,”
Ars Electronica Festival Catalog
,(2003): 422, http://www.aec.at/en/archiv_ﬁles/20031/FE_2003_kodama_en.pdf