Michelle Kumata, 512 First Avenue South, Seattle, WA (2026)

10/11/2023

There are a few available works from What We Carry / O que nós carregamos - contact ArtX Contemporary if you are interested.

What We Carry / O que nós carregamos explores the parallel experiences of the Japanese diaspora in the Pacific Northwest and Brazil. Seen through the lens of Kumata’s multi-faceted family tree, the exhibition explores the dreams and hardships of Nikkei immigrants in search of stability, opportunity and belonging.

Check the link in bio for more info on the show.

Espinos (Thorns)
Acrylic, paper on wood
14” x 11” x ¾”
2023
“The Nikkeijin may be culturally, ethnically and linguistically Brazilian, but very often they are seen as ‘false nationals.’ With the economic success of Japan, the image has altered, but the Nikkeijin are still presented in the Brazilian media as ‘foreigners’ and not as Brazilians.”

“Migrants and Identity in Japan and Brazil: The Nikkeijin” Daniela de Carvalho, 2003.

Amerela (Yellow)
Acrylic, paper on wood
14” x 11” x ¾”
2023
The farm laborer’s head is capped with a chrysanthemum, a symbol of Japan. She leaves golden rice grains, moving into lush coffee fields. Her skin is marked with a Japanese fern pattern, a plant that grows and flourishes in Brazil, Japan and the U.S.

“To the Brazilians, they were ‘amerelos’ (yellow), olhos puxados (slant-eyes) or simply Japão (Japan)…The Nikkeijin also associated ‘yellowness’ with themselves.”

“Migrants and Identity in Japan and Brazil: The Nikkeijin” Daniela de Carvalho, 2003.

Sandstorm
Acrylic, paper on wood
14” x 11” x ¾”
2023
Many of the deeper stories of the incarceration experience have been lost with our elders. If our ancestors said anything at all, they only mentioned innocuous details of camp – how it was hot, windy and dusty. Why did they not share their stories and emotions of being forcibly removed from their homes and imprisoned? Engulfed in a thick sandstorm, this incarceree can’t see beyond the dust cloud to acknowledge the barbed wire and guard tower of their unjust life.

08/26/2023

This is an ancient International Examiner illustration for a humorous story by David Takami about returning to his mother's home to discover endless bottles and containers of unidentifiable leftovers in her packed fridge. What might be called a Nikkei archeological dig. I laugh and cringe when I look at it because it's a little too familiar. Thanks for sharing, David!

What kinds of foods do you always keep in your fridge?

07/07/2023

It’s the last two days to see What We Carry / O que nós carregamos
Stop by to see the show July 7 and 8, 11am – 5:30pm. I’ll be there Saturday, July 8, 11am – noon-ish. You can also see the works at the link in bio.

It’s been a wonderful five weeks. Many thanks to and to the Nikkei who shared their thoughts and personal stories. Thank you all for your support and encouragement!

Scream
Acrylic, paper on wood
14” x 11” x ¾”
2023
Starting at top with Issei, first generation, then Nisei (second generation), Sansei (third generation), and Yonsei (fourth generation), the pattern of silencing is finally broken.

07/05/2023

There are only a few days left to view What We Carry / O que nós carregamos 🥲💗

Stop by Wednesday, Friday and Saturday, 11am - 5:30pm, or Thursday, 11a - 8pm. I'll be there for the Closing Reception on First Thursday, July 6, 5-8pm.

Look for the notebook that includes full art labels and quotes from interviews and surveys I collected to develop the exhibition.

What We Carry / O que nós carregamos, featuring explores the parallel experiences of the Japanese diaspora in the Pacific Northwest and Brazil. Seen through the lens of Kumata’s multi-faceted family tree, the exhibition explores the dreams and hardships of Nikkei immigrants in search of stability, opportunity and belonging. Link in bio. This project is supported, in part, by a grant from

Healing
Acrylic, paper on wood
20” x 16” x ¾”
2023
Barbed wire flows from the heart, releasing a brilliant shibori firework. The verb “shiboru” means to wring, squeeze and press.” Fabric is twisted, folded, stitched and dyed in this intricate technique, resulting in beautiful, unexpected patterns. Hope flows as we find ways to heal.

Alcançar (Reach)
Acrylic, paper on wood
20” x 16” x ¾”
2023
The woman raises her arms, building strength from snakes and butterflies, as the brilliant blossoms of the Pau Brasil, the national tree of Brazil, dance on the folded fan. The shadows of crown of thorns branches fade behind. What does it mean to be Japanese Brazilian? How does one navigate their own heritage, ethnicity and claim their own identity?

06/27/2023

What We Carry / O que nós carregamos, featuring explores the parallel experiences of the Japanese diaspora in the Pacific Northwest and Brazil. Seen through the lens of Kumata’s multi-faceted family tree, the exhibition explores the dreams and hardships of Nikkei immigrants in search of stability, opportunity and belonging. Link in bio.
Closing Reception: Thursday, July 6, 5-8pm
Hours: Tuesday - Saturday, 11am to 5:30pm
Show closes July 8.

This project is supported, in part, by a grant from

Fique quieto (Be Quiet)
2020
Acrylic and pencil on paper
14” x 11”

In 1942, Brazil declared war on Japan. Japanese Brazilians faced curfews, were restricted from travel and gathering, and could not speak the Japanese language in public. Those living on the coast were forcibly relocated with only 24 hours notice. Japanese schools and newspapers were shut down. Japanese Brazilians were arrested, tortured, jailed and deported for no reason, other than being Japanese.

These parents are silenced and suppressed, and to protect their own children, they cover their mouths, contributing to the cycle of racism, oppression and shame. This happened in Brazil and it happened in the U.S. The effects continue to affect the psyche of later generations. Cultural erasure, racism and oppression has a long history, and continues to affect Black, Indigenous and People of Color around the world.

(More in next caption)

06/15/2023

A few more works on display at
Stop by the gallery and look for the notebook that includes full art labels and quotes from interviews and surveys I collected to develop the exhibition.

What We Carry / O que nós carregamos, featuring explores the parallel experiences of the Japanese diaspora in the Pacific Northwest and Brazil. Link in bio

Artist Talk: Saturday, June 24, 11am
Closing Reception: Thursday, July 6, 5-8pm
Hours: Tuesday - Saturday, 11am to 5:30pm

This project is supported, in part, by a grant from

Sandstorm
Acrylic, paper on wood
14” x 11” x ¾”
2023
Many of the deeper stories of the incarceration experience have been lost with our elders. If our ancestors said anything at all, they only mentioned innocuous details of camp – how it was hot, windy and dusty. Why did they not share their stories and emotions of being forcibly removed from their homes and imprisoned? Engulfed in a thick sandstorm, this incarceree can’t see beyond the dust cloud to acknowledge the barbed wire and guard tower of their unjust life.

Buried
Acrylic, paper on wood
14” x 11” x ¾”
2023
This Nisei, second-generation Japanese American, is buried and stuck, only the top of his yellow head is visible above ground, trapped in a barrack. Shibori snowflakes and stars in a clear night sky contrast with the fire and turmoil slowly burning underground. Even though this person is American, they are seen and treated as a foreigner.

Protection
Acrylic, paper on wood
20” x 16” x ¾”
2023
Mother cradles her child, wrapped in an Army blanket in their temporary home in horse stables at the state fairgrounds. She protects her baby from the effects of war, the hatred and racism, creating a camouflage shelter covered with carp, a symbol of strength, courage, patience and perseverance.

06/09/2023

Another peek at the works on display at

Look for the notebook that includes full art labels and quotes from interviews and surveys I collected to develop the exhibition.

What We Carry / O que nós carregamos, featuring explores the parallel experiences of the Japanese diaspora in the Pacific Northwest and Brazil. Seen through the lens of Kumata’s multi-faceted family tree, the exhibition explores the dreams and hardships of Nikkei immigrants in search of stability, opportunity and belonging. Link in bio.

Artist Talk: Saturday, June 24, 11am

Closing Reception: Thursday, July 6, 5-8pm

Hours: Tuesday - Saturday, 11am to 5:30pm

This project is supported, in part, by a grant from

Amerela (Yellow)
Acrylic, paper on wood
14” x 11” x ¾”
2023

The farm laborer’s head is capped with a chrysanthemum, a symbol of Japan. She leaves golden rice grains, moving into lush coffee fields. Her skin is marked with a Japanese fern pattern, a plant that grows and flourishes in Brazil, Japan and the U.S.

“To the Brazilians, they were ‘amerelos’ (yellow), olhos puxados (slant-eyes) or simply Japão (Japan)…The Nikkeijin also associated ‘yellowness’ with themselves.”

“Migrants and Identity in Japan and Brazil: The Nikkeijin” Daniela de Carvalho, 2003, p. 67

Espinos (Thorns)
Acrylic, paper on wood
14” x 11” x ¾”
2023

“The Nikkeijin may be culturally, ethnically and linguistically Brazilian, but very often they are seen as ‘false nationals.’ With the economic success of Japan, the image has altered, but the Nikkeijin are still presented in the Brazilian media as ‘foreigners’ and not as Brazilians.”

“Migrants and Identity in Japan and Brazil: The Nikkeijin” Daniela de Carvalho, 2003, p. 65

06/07/2023

Doing a little homework with a treasured resource. Photographer Teresa Tamura’s self-published book, “Minidoka: An American Concentration Camp” (2013), is a deep dive with WWII incarceration survivors through essays, interviews, historic and contemporary photographs.

Tamura grew up in Nampa, Idaho, less than three hours from Minidoka, and only learned about the Japanese American incarceration in college in the late 70s and early 80s. And even after learning about Minidoka, Tamura avoided stopping there, as her parents had never discussed the incarceration with her, and the idea of visiting the site made her feel uncomfortable and self-conscious.

The attacks on the World Trade Center Towers on Sept. 11, 2001, prompted Tamura to reflect on the possibility of other ethnic groups being targeted and imprisoned in American concentration camps, and gave Tamura’s photo project about Minidoka (started in March 2001) new relevance. This culminated in a 12-year journey, with a 305-page book featuring 90+ individuals and 180 photos, including Tamura’s poignant portraits and haunting infrared photos of Minidoka.

05/30/2023

I'm honored to have a solo exhibition opening Thursday, June 1.

What We Carry / O que nós carregamos, June 1 - July 8, 2023, featuring Michelle Kumata, explores the parallel experiences of the Japanese diaspora in the Pacific Northwest and Brazil. Seen through the lens of Kumata’s multi-faceted family tree, the exhibition explores the dreams and hardships of Nikkei immigrants in search of stability, opportunity and belonging.

Join us for the opening reception during the Pioneer Square Art Walk: Thursday, June 1, 5-8pm

Artist Talk: Saturday, June 24, 11am

Closing Reception: Thursday, July 6, 5-8pm.

This exhibition is supported, in part, by a grant from

512 First Ave South
Seattle, WA 98104

Tuesday through Saturday, 11am - 5:30pm
Online at artx-contemporary.com

05/11/2023

I'm thrilled to be a part of “Scanning the Room,” an exciting group show at the Vashon Center for the Arts. Special thanks to June Sekiguchi and Lynann Politte for co-curating this exhibition. Scanning the Room poster art by Paula Onadera Wong.

“Scanning the Room” presents work from 20 Asian American Native Hawaiian/Pacific Islander (AANHPI) artists that speaks to identity, politics, and sentiment of how an AANHPI artist views their place as the Other in predominantly white spaces.

Featured Artists: Anida Yoeu Ali, Cheryll Leo-Gwin, Eliaichi Kimaro, Erin Shigaki, Hanako O'Leary, Jonathan Wakuda Fischer, June Sekiguchi, Lauren Iida, MalPina Chan, Marialina Wallace, Michelle Kumata, Miya Sukune, Nari Baker, Paula Onodera Wong, Saya Moriyasu, Soo Hong, Teruko Nimura, Thuy-Van Vu, Trenton Quiocho, and Yoshi Nakagawa. The exhibition's concept was conceived by and exhibition is co-curated with

To scan a room is an automatic response for many people in the AANHPI community to gauge the racial makeup of a space upon entering. Is it a factor of safety in an environment of increased Asian hate or simply as an observational awareness that is physically, emotionally and psychically increased when navigating spaces that have a majority Caucasian racial makeup.

This exhibition runs during May, AANHPI month, observed annually in the United States to reflect upon and celebrate the contributions and influence of AANHPI Americans to the history, culture, and achievements of the U.S.

Thank you to exhibition sponsor, and to gallery sponsor Beth deGroen.
See the VCA website link in bio. All the art in “Scanning the Room” is online and will be available for purchase through the VCA online gallery, as well as

If you plan to visit, please note hours and closures:

Regular Gallery hours:
WED - SUNDAY : 12-5pm

Closed:
FRIDAY, MAY 12th
THURSDAY, MAY 18th

Limited Hours & Access:
SATURDAY, MAY 13th: 12noon - 3:30pm

June Sekiguchi at the Gallery:
SUNDAY (Mother’s Day), MAY 14th : 12-2pm
(we are open Mother’s Day 12-5pm)

05/04/2023

💛 ya Bay Area friends, old and new❣️

05/03/2023

Thank you for sharing your truth with such sincerity and heart.

Check out Jun - a self-taught, fearless, q***r Korean artist who tells his life's story through lush, vibrant paintings and huggable works.

Michelle Kumata

10/11/2023

08/26/2023

07/07/2023

07/05/2023

06/27/2023

06/15/2023

06/09/2023

06/07/2023

05/30/2023

05/11/2023

05/04/2023

05/03/2023

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