Haruko Okano is a Canadian artist, poet, community organizer, and activist based in Vancouver, British Columbia. She is recognized for her process-based, collaborative, and multidisciplinary approach, working across various media including performance, mixed media, installation, painting, and text.

When and where was Haruko Okano born?

Haruko Okano was born on March 26, 1945, in Toronto, Ontario, Canada. She is currently 80 years old.

What is Haruko Okano's ethnic background and generational status?

Haruko Okano is a 'Sansei', which signifies that she is a third-generation Japanese Canadian. This generational identity is a key aspect of her heritage.

What significant life events shaped Haruko Okano's early life and connection to her heritage?

Haruko Okano experienced a tumultuous childhood marked by her parents' disputes over her custody, leading to intermittent foster care placements. After her mother's death when Okano was nine, she became a permanent ward of the Children's Aid Society. She lived in various foster homes, enduring psychological and sexual abuse, and was disconnected from her Japanese cultural heritage. Okano identifies this period of displacement as the origin of her alienation from her Japanese Canadian identity.

Where did Haruko Okano pursue her formal art education?

Haruko Okano studied art at Central Technical School in Toronto, where she graduated with honors in 1972. She furthered her education by studying print production at Vancouver Community College in 1980.

What is Haruko Okano's current living situation and her involvement in community housing?

Since 1993, Haruko Okano has resided in the China Creek Housing Co-op, located in the Mount Pleasant neighborhood of Vancouver. In 2013, she actively spoke out against plans to close the Federal Co-operative Housing Program, which provides essential rent subsidies for numerous co-op residents in British Columbia.

What artistic media and materials does Haruko Okano utilize in her practice?

Haruko Okano works across diverse media, including painting, sculpture, site-specific installation, performance, mixed media, and text. She frequently incorporates found materials and natural elements such as stones, living spores and fungus, leaves, and branches into her art.

What are the primary themes explored in Haruko Okano's artistic work?

Haruko Okano's art explores themes related to the environment and ecology, as well as issues of race, sexuality, and gender. A recurring and central focus in her work is cultural and linguistic hybridity.

How does literary critic Eva Darias-Beautell describe Haruko Okano's artistic output?

Eva Darias-Beautell characterizes Haruko Okano's work as consistently revolving around the unresolved condition of cultural hybridity. She notes that Okano's art explores the challenges and possibilities of finding modes of expression that exist outside of conventional norms, and it engages with theoretical discussions surrounding the experiences of diasporic individuals in Canada.

What is distinctive about Haruko Okano's approach to community-based art projects?

Haruko Okano is recognized for her collaborative and community-based practice, in which she acts as an artistic facilitator. Her role involves guiding projects that are realized within the public sphere and engage participants and stakeholders from outside the traditional confines of the art world.

Can you describe the collaborative project 'Looking at the Garden Fence'?

'Looking at the Garden Fence' was a 2021 project involving Haruko Okano, Derya Akay, and Vivienne Bessette. This project took place at various community gardens in Vancouver, including Sahalli Park Community Garden, Elisabeth Rogers Community Garden, and Harmony Garden X̱wemelchstn pen̓em̓áy.

What residency program did Haruko Okano participate in during 2021?

In 2021, Haruko Okano, alongside artist Azul Duque, participated in a four-month residency as part of the Gabriola Arts Council's Kasahara Gabriola Trust Artist Residency program. This residency took place on Gabriola Island.

What was the 'Mount Pleasant Community Fence' project, and when did it occur?

The 'Mount Pleasant Community Fence' was a project initiated in 1994 by Haruko Okano, Merle Addison, and Pat Beaton from the grunt gallery. Located in Vancouver's Mount Pleasant area, community members collectively designed and hand-carved four hundred red-cedar pickets to be used for a local fence.

How did critics John Steil and Aileen Stalker interpret the significance of the 'Mount Pleasant Community Fence'?

John Steil and Aileen Stalker viewed the 'Mount Pleasant Community Fence' not as a barrier, but as a demarcation of the garden space. They highlighted it as an example of people from diverse cultural backgrounds collaborating to beautify their neighborhood, contribute to sustainability, and reduce the stress of city life.

Describe the collaborative performance piece 'High( bridi ) Tea'.

'High( bridi ) Tea' was a performance piece created between 1998 and 2001 by Haruko Okano and poet Fred Wah. It incorporated elements of performance, installation, poetry, and environmental art, exploring themes of hybridized languages, cultural contamination, and race.

Where and when did the performance of 'High( bridi ) Tea' take place?

The performance of 'High( bridi ) Tea' occurred at the Nice Café in Vancouver's Mount Pleasant neighborhood on November 17, 2000. The work itself was conceived and developed earlier in 1998 during a residency at the Banff Centre for the Arts.

What specific elements were used in the 'High( bridi ) Tea' performance to convey its themes?

During the performance, Haruko Okano and Fred Wah acted as serving staff, offering guests white bread and tea. The paper napkins were treated with kombucha fungus and printed with provocative text like 'dis-orient' and 'disgust,' while the bread itself had words such as 'corrupt' and 'apartheid' silkscreened onto it using mold.

What personal experiences did Okano and Wah share during the 'High( bridi ) Tea' performance?

Throughout the 'High( bridi ) Tea' performance, Haruko Okano and Fred Wah shared personal recollections and experiences of growing up in Canada as individuals who identified with multiple cultural and racial backgrounds, highlighting their experiences as cultural and racial hybrids.

What is the 'San Augustine Suite' project, and what materials did it involve?

The 'San Augustine Suite' is a series of mixed-media sculptures created by Haruko Okano in 2009 during an artist residency in San Augustine, Mexico. The sculptures were made from materials collected by Okano during her daily walks to and from her studio, including natural items like seed pods, flowers, and grasses, as well as discarded trash.

What purpose do the sculptures in the 'San Augustine Suite' serve?

The sculptures created for the 'San Augustine Suite' serve as artistic records of Haruko Okano's specific location and her daily perambulations during her residency in Mexico. They capture the essence of her experiences and the environment she encountered.

In which notable public and private collections are Haruko Okano's works held?

Haruko Okano's artworks are part of several significant collections, including the Canada Council Art Bank, the Japanese Canadian Citizens Association, the Library of Congress, the Province of British Columbia, and the Surrey Art Gallery.

What prestigious award did Haruko Okano receive in 2000?

In the year 2000, Haruko Okano was honored with the VIVA Award, presented by the Jack and Doris Shadbolt Foundation. This award recognizes significant artistic achievement.

What is the significance of the term 'Sansei' in relation to Haruko Okano?

The term 'Sansei' signifies that Haruko Okano belongs to the third generation of Japanese immigrants in her family. This generational identity is a key aspect of her Japanese Canadian heritage.

How did Haruko Okano's experiences in foster care impact her connection to her Japanese heritage?

During her time in foster care, Haruko Okano was removed from all contact with her Japanese cultural heritage. This separation is identified by Okano herself as the point where her alienation from her Japanese Canadian identity began, influencing her later artistic focus.

What role did Haruko Okano play in advocating for housing cooperatives in 2013?

In 2013, Haruko Okano publicly voiced her opposition to the proposed closure of the Federal Co-operative Housing Program. This program provides essential rent subsidies for numerous residents in housing cooperatives across British Columbia, including Okano herself, highlighting her involvement in community advocacy.

What does Haruko Okano's artistic practice emphasize regarding collaboration and the public realm?

Haruko Okano's artistic practice is characterized by its collaborative and community-based nature. She often functions as an artistic facilitator, enabling projects that are realized within the public sphere and engage individuals and groups typically outside the conventional art world.

What themes related to nature and the environment are present in Okano's work?

Haruko Okano frequently incorporates natural detritus, such as stones, living spores, fungus, leaves, and branches, into her art. Her work explores environmental and ecological themes, reflecting a connection to the natural world and its processes.

How did the collaboration between Haruko Okano and Fred Wah for 'High( bridi ) Tea' originate?

The collaboration between Haruko Okano and Fred Wah for 'High( bridi ) Tea' began when both artists were in residence at the Banff Centre for the Arts in 1998. They discovered a shared interest in themes of hybridized languages, cultural contamination, and race, which led to their two-year collaborative process.

What does the phrase 'dis-orient' and 'disgust' printed on napkins in 'High( bridi ) Tea' suggest?

The phrases 'dis-orient' and 'disgust' printed on the napkins during the 'High( bridi ) Tea' performance likely relate to themes of cultural alienation, prejudice, and the discomfort associated with being perceived as 'other.' These terms evoke feelings tied to experiences of displacement and racial identity.

What does Haruko Okano's work reveal about the experience of diasporic subjects?

According to critic Eva Darias-Beautell, Haruko Okano's work thematizes and addresses the theoretical debates surrounding the condition of the diasporic subject in Canada. Her art highlights the complexities and challenges inherent in navigating identity when displaced from one's cultural origins.

What is the significance of the authority control information provided for Haruko Okano?

The authority control information, including links to VIAF, FAST, WorldCat, and the Library of Congress, serves to uniquely identify Haruko Okano within various international and national databases. This standardization helps in cataloging and retrieving accurate information about her across different systems.

What specific types of abuse did Haruko Okano experience in foster care?

The provided text states that Haruko Okano experienced psychological and sexual abuse during her time in a series of foster homes.

What is the significance of the grunt gallery in relation to Haruko Okano's work?

The grunt gallery was involved in initiating the 'Mount Pleasant Community Fence' project in 1994, with artists Merle Addison and Pat Beaton collaborating with Haruko Okano. This indicates the gallery's role in supporting community-based public art initiatives.

How does Haruko Okano's artistic practice connect with ecological themes?

Haruko Okano's artistic practice connects with ecological themes by often incorporating natural detritus, such as stones, living spores, fungus, leaves, and branches, into her work. This use of organic materials directly engages with environmental subjects and processes.

What does the phrase 'process-based' imply about Haruko Okano's artistic approach?

The term 'process-based' suggests that Haruko Okano's artistic practice emphasizes the journey and methods of creation, rather than solely focusing on the final product. This approach often involves exploration, experimentation, and collaboration throughout the artistic development.

What was the context for Haruko Okano's parents' disputes regarding her custody?

The text indicates that Haruko Okano was born during a 'tumultuous time in her parents’ relationship,' and the disputes over her custody led to her intermittent placement in foster care.

What is the role of community gardens in Haruko Okano's collaborative projects?

Community gardens served as the location for Haruko Okano's collaborative project 'Looking at the Garden Fence' in 2021. This highlights community gardens as spaces for artistic engagement and collaboration within the public realm.

How does Haruko Okano's work address the concept of 'normativity'?

According to critic Eva Darias-Beautell, Haruko Okano's work explores modes of expression that fall outside normativity. This means her art challenges conventional standards and expectations in artistic creation and cultural identity.

What does the Library of Congress hold related to Haruko Okano?

Haruko Okano's works are held in the Library of Congress, specifically noted in relation to the 'Exit Art "Reactions" exhibit collection.'

What is the significance of Haruko Okano's website?

Haruko Okano's website, http://www.harukookano.com/, serves as an official online presence, likely providing comprehensive information about her work, exhibitions, and artistic practice. It acts as a central point for accessing details about the artist.

What does Haruko Okano's artistic practice suggest about the intersection of art and activism?

As an artist, poet, community organizer, and activist, Haruko Okano's practice inherently connects art with activism. Her work often focuses on social issues, cultural identity, and community engagement, demonstrating how artistic expression can serve as a tool for social change and advocacy.

What specific location in British Columbia was significant for Haruko Okano's grandfather?

Haruko Okano's Japanese grandfather came to live in Haney, British Columbia, in the year 1918.

What does the term 'mixed media' mean in the context of Haruko Okano's art?

In the context of Haruko Okano's art, 'mixed media' refers to her practice of combining various artistic materials and techniques, such as painting, sculpture, installation, and text, within a single artwork or across her diverse body of work.

How did Haruko Okano's early life experiences influence her artistic themes?

Haruko Okano's experiences of displacement, abuse, and disconnection from her cultural heritage during her childhood in foster care profoundly influenced her artistic career. Much of her work focuses on the recovery and expression of her Japanese Canadian identity and explores themes of alienation and belonging.

What is the role of found materials in Haruko Okano's artistic process?

Haruko Okano often incorporates found materials and natural detritus into her artwork. This practice suggests an engagement with the environment, history, and the potential for transformation of everyday or discarded objects into meaningful art.

What does the phrase 'community-based practice' imply about Haruko Okano's engagement with the public?

Haruko Okano's 'community-based practice' indicates that her artistic projects are developed and realized in collaboration with, and often for, specific communities. This approach emphasizes participation, dialogue, and shared creation, moving beyond the traditional artist-audience relationship.

What specific themes were explored in the 'High( bridi ) Tea' performance regarding language and identity?

The 'High( bridi ) Tea' performance explored themes of hybridized languages and cultural contamination. The use of text on napkins and mold on bread, alongside the sharing of personal experiences, directly addressed issues of cultural and racial hybridity in the Canadian context.

What is the significance of Haruko Okano's residency on Gabriola Island?

Haruko Okano's residency on Gabriola Island in 2021, as part of the Kasahara Gabriola Trust Artist Residency program, provided her with dedicated time and space to create new work. This residency, undertaken with artist Azul Duque, suggests an opportunity for focused artistic development and potentially exploration of new themes or environments.

What does Haruko Okano's work reveal about the concept of 'cultural hybridity'?

Haruko Okano's work consistently revolves around the concept of cultural hybridity, exploring both the difficulties ('traps') and the creative potential ('possibilities') that arise from navigating multiple cultural influences. Her art examines how individuals forge identity within these complex, often unresolved, cultural spaces.

What is the purpose of the VIVA Award mentioned in relation to Haruko Okano?

The VIVA Award, received by Haruko Okano in 2000 from the Jack and Doris Shadbolt Foundation, is a prestigious recognition of artistic achievement. Such awards typically acknowledge an artist's significant contributions and talent within the art world.

How does Haruko Okano's artistic practice relate to her identity as a Japanese Canadian?

Haruko Okano's artistic practice is deeply intertwined with her identity as a Japanese Canadian. Her career has often focused on recovering and expressing her cultural identity, particularly in response to the alienation she experienced due to her childhood separation from her heritage.

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Life and Heritage

Early Life and Identity

Haruko Okano was born on March 26, 1945, in Toronto, Ontario. She is a 'Sansei' (third-generation) Japanese Canadian. Her formative years were marked by significant personal challenges, including parental disputes over custody, periods in foster care, and the loss of her mother at age nine. These experiences led to her becoming a permanent ward of the Children's Aid Society and living in various foster homes, where she endured psychological and sexual abuse. Crucially, this period resulted in her estrangement from her Japanese cultural heritage, a theme that would later profoundly influence her artistic practice.^[1]^[3]^[4]

Education and Community Roots

Okano pursued formal artistic training, graduating with honors from Central Technical School in Toronto in 1972. She further honed her skills by studying print production at Vancouver Community College in 1980.^[6]^[7] Since 1993, Okano has been a resident of the China Creek Housing Co-op in Vancouver's Mount Pleasant neighborhood. Her commitment to community well-being was highlighted in 2013 when she publicly advocated against the closure of the Federal Co-operative Housing Program, which provides essential rental subsidies.^[8]^[9]

Artistic Practice

Multidisciplinary Approach

Haruko Okano is recognized for her versatile engagement across numerous artistic disciplines. Her practice encompasses painting, sculpture, site-specific installation, performance art, mixed media, and textual works. A distinctive characteristic of her art is the incorporation of found materials and natural elements, such as stones, leaves, branches, and even living spores and fungi, reflecting a deep connection to ecological themes.^[10]

Themes of Identity and Hybridity

A central and recurring motif in Okano's oeuvre is the exploration of cultural and linguistic hybridity. Literary critic Eva Darias-Beautell notes that Okano's work consistently addresses the complexities of cultural identity, particularly within the Canadian context. Her art often delves into the challenges and possibilities inherent in seeking modes of expression that transcend normative boundaries, speaking directly to the experiences of the diasporic subject.^[12] Her thematic concerns also extend to issues of race, sexuality, and gender.^[11]

Community-Based Facilitation

Okano is highly regarded for her collaborative, community-based artistic practice. In these projects, she often assumes the role of an artistic facilitator, guiding initiatives that involve diverse stakeholders and participants from outside the conventional art world. This approach emphasizes shared creation and public engagement, embedding her artistic endeavors within the broader social fabric.^[13]

Select Works

Mount Pleasant Community Fence (1994)

In collaboration with artists from the grunt gallery, Okano initiated this public art project in Vancouver's Mount Pleasant neighborhood. Community members were invited to design and hand-carve hundreds of red-cedar pickets, which were then used to construct a local fence. This project transformed a boundary into a symbol of collective effort, neighborhood beautification, and the creation of a sustainable community space.^[16]^[17]

High(bridi) Tea (1998–2001)

This significant performance and installation piece was a collaboration with poet Fred Wah, developed during residencies at the Banff Centre. The work critically examined themes of cultural hybridity, contamination, and race through hybridized languages. For the performance, Okano and Wah served guests tea and bread printed with words and phrases related to cultural displacement. They shared personal recollections of growing up as cultural and racial hybrids in Canada, using elements like kombucha fungus-printed napkins and mold-stamped bread to convey complex ideas.^[18]

San Augustine Suite (2009)

During an artist residency in San Augustine, Mexico, Okano embarked on a daily walk to her studio. Along this route, she collected various local materials, including seed pods, flowers, grasses, and discarded items. These scavenged elements were then meticulously combined into a series of mixed-media sculptures, each serving as a tangible record of her physical journey and the specific location, capturing the essence of her perambulations.^[19]

Select Collections

Public and Private Holdings

Haruko Okano's impactful body of work is represented in numerous private and significant public collections. These include:

Canada Council Art Bank^[20]
Japanese Canadian Citizens Association
Library of Congress^[21]
Province of British Columbia
Surrey Art Gallery^[22]

Awards and Recognition

VIVA Award Recipient

In recognition of her significant contributions to the arts, Haruko Okano was honored with the prestigious VIVA Award from the Jack and Doris Shadbolt Foundation in the year 2000. This award acknowledges her sustained artistic excellence and impact.^[7]

References

Haruko Okano. Japanese Canadian Artists Directory. 2017-08-02. Retrieved 2019-03-09. https://japanesecanadianartists.com/artist/haruko-okano/
Okano, Haruko. Come Spring: Journey of a Sansei. North Vancouver: Gallerie Publications, 1992. p. 10. ISBN 9781895640007.
Okano, Haruko. Come Spring: Journey of a Sansei. North Vancouver: Gallerie Publications, 1992. p. 7. ISBN 9781895640007.
Darias-Beautell, Eva. "The Unresolved Spaces of Diasporic Desire: An Interdisciplinary Critique of Haruko Okano's Work". Atlantis, vol. 36, no. 2, December 2014, p. 190.
Laurence, Robin. "Haruko Okano: Hands of the Compassionate One". An Open Book (City of Surrey), 2007. Retrieved March 9, 2019. https://www.surrey.ca/files/Okano1.pdf
Okano, Haruko. "Irezumi of the West Nursery Rhyme for a Lost Childhood". The Capilano Review, Fall 1991 / 2.6&7, p. 198.
Ressler, Susan R., ed. Women Artists of the American West. Jefferson, NC: McFarland & Company, Inc., 2003. p. 327. ISBN 9780786464388.
Sherlock, Tracy. "Co-op Assistance Hits Subsidy Snag". Vancouver Sun, June 1, 2013. Retrieved January 14, 2025. https://vancouversun.com/business/affordability/co-op-assistance-hits-subsidy-snag
Pemberton, Kim. "Co-op Residents Seek Help: Thousands of Low-Income Families to Lose Federal Subsidies". Vancouver Sun, April 16, 2013, p. A6.
Boddy, Trevor. "The Emma Lake Effect: How Did Art Classes at a Camp in Saskatchewan Prolong the Reign of Abstract Expressionism? Is Ken Lum China's Clement Greenberg? And What Does This Have to Do with the VAG? Your Questions Answered". Vancouver Sun, September 2, 2000, p. E3.
Scott, Michael. "Two Win VIVA Awards". Vancouver Sun, March 22, 2000.
Darias-Beautell, Eva. "The Unresolved Spaces of Diasporic Desire: An Interdisciplinary Critique of Haruko Okano's Work". Atlantis, vol. 36, no. 2, December 2014, p. 183.
About | Looking At The Garden Fence. www.lookingatthegardenfence.com. Retrieved 2022-03-24. https://www.lookingatthegardenfence.com/about.html
Looking at the Garden Fence. Contemporary Art Gallery, Vancouver. Retrieved 2022-03-24. https://www.contemporaryartgallery.ca/events/looking-at-the-garden-fence/
Gabriola artists-in-residence to 'listen to the land' as they create new work. Nanaimo News Bulletin, 2021-03-10. Retrieved 2022-03-24. https://www.nanaimobulletin.com/entertainment/gabriola-artists-in-residence-to-listen-to-the-land-as-they-create-new-work/
Community Fence. covapp.vancouver.ca. Retrieved March 9, 2019. https://covapp.vancouver.ca/PublicArtRegistry/ArtworkDetail.aspx?ArtworkId=320&FromArtworkSearch=False
Steil, John; Stalker, Aileen. Public Art in Vancouver: Angels Among Lions. TouchWood Editions, 2009. p. 111. ISBN 978-1-894898-79-9.
Daniher, Colleen Kim. "Forgetting Asian Canadian Experimental Performance: Haruko Okano and Fred Wah's High(bridi)Tea". Canadian Theatre Review, vol. 174, Spring 2018, p. 14. DOI: 10.3138/ctr.174.003. S2CID 149525345. https://doi.org/10.3138/ctr.174.003
Devoy, Melanie. "Andante Teachers' Guide". Richmond Art Gallery, 2013. Retrieved March 9, 2019. https://www.richmondartgallery.org/wp-content/uploads/2013/02/Teachers_Guide_Andante.pdf
Heritage and Culture. Canada Council Art Bank. Retrieved March 9, 2019. https://artbank.ca/art-piece/the-gift-of-heritage-and-culture-from-come-springjourney-of-a-sansei/
Exit Art "Reactions" exhibit collection. Library of Congress. Retrieved March 9, 2019. http://memory.loc.gov/service/pnp/eadxmlpnp/html/pp004001.htm
Haruko Okano. Surrey Art Gallery. Retrieved March 9, 2019. https://www.surrey.ca/search.aspx?q=okano

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References

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Haruko Okano

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Life and Heritage 👶

🎂 Early Life and Identity

📚 Education and Community Roots

Artistic Practice 🎨

🌿 Multidisciplinary Approach

🗣️ Themes of Identity and Hybridity

🤝 Community-Based Facilitation

Select Works 🖼️

🌳 Mount Pleasant Community Fence (1994)

☕ High(bridi) Tea (1998–2001)

📍 San Augustine Suite (2009)

Select Collections 🏛️

🏢 Public and Private Holdings

Awards and Recognition 🏆

🏅 VIVA Award Recipient

References 📜

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Dive in with Flashcard Learning!

Life and Heritage

Early Life and Identity

Education and Community Roots

Artistic Practice

Multidisciplinary Approach

Themes of Identity and Hybridity

Community-Based Facilitation

Select Works

Mount Pleasant Community Fence (1994)

High(bridi) Tea (1998–2001)

San Augustine Suite (2009)

Select Collections

Public and Private Holdings

Awards and Recognition

VIVA Award Recipient

References

Teacher's Corner

True or False?

Test Your Knowledge!

Gamer's Corner

Discover other topics to study!

References

Feedback & Support

Disclaimer

Important Notice