Manipulating the Threads of Culture:\nContemporary <i>Shibori</i> Artist Yvonne Wakabayashi
Bibliographic record
Abstract
Deeply anchored in her practice of shaping and manipulating fibre are both the aesthetic integral to Yvonne Wakabayashi’s Japanese heritage and the inspiration of the natural environment she finds along the shores of her own birth place, Canada’s west coast. Wakabayashi’s journey to find her authentic voice in her varied textile works, engaged both historical craft practices of Japan and printmaking processes of the West. Most importantly, it led to the discovery of shibori with its ancestral links and innovative contemporary possibilities. This paper explores how an individual artist embraces her artistic cultural identity that also negotiates the upheaval wrought on her parents’ generation as she creates art that honours her ancestry. The creative origins of Wakabayashi’s textiles spring from a childhood imbued with her mother’s traditional skills including fine dressmaking acquired in her native Japan, skills that took on a new significance during years of dislocation. The Japanese family of a young Yvonne was interned by the state away from the coast of British Columbia during the Second World War. During the upheaval that saw professional jobs lost, it was the skills of her mother that secured them financially, modelled adaptability, and shaped her daughter’s interests. A second profound influence on the developing artist was Hiroyuki Shindo. On a sojourn to Japan as a young teacher, Yvonne Wakabayashi took a workshop with the Indigo Master and contemporary shibori artist and found a key medium in which to express herself in cloth. As a foremost textile artist in Canada, the sculptures, narrative wall hangings and fashion pieces of Yvonne Wakabayashi meld methods and materials from two diverse cultures and reach a global audience. In their interplay of ancestry and local inspiration, the artist manipulates the unique threads of her culture.
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How this classification was reachedexpand
Full frame machine prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. The Gemma side is a direct model label for every work in the frame, read from the title-only record. The Codex side is a classifier learned from the 10,348 direct Codex labels and calibrated to design-weighted sample rates; fields without enough sample support carry no Codex call. Candidate is the union of the two sides; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels.
Distilled classifier scores by category (both heads)
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.001 | 0.001 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.000 | 0.000 |
| Science and technology studies | 0.010 | 0.007 |
| Scholarly communication | 0.005 | 0.002 |
| Open science | 0.001 | 0.005 |
| Research integrity | 0.001 | 0.002 |
| Insufficient payload (model declined to judge) | 0.005 | 0.001 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one source (direct Gemma or distilled Codex), not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".