Extending the Sky into the Earth
Groundwater primarily refers to water that seeps into the ground and feeds an aquifer. From the sky to the earth, it flows over surfaces covered with vegetation, asphalt, gravel, trees, and leaves, then passes through layers of sand and rock. It is sometimes extracted for a variety of uses, ranging from water supply to manufacturing, irrigation, cleaning, and more. This relationship, which at first glance appears purely utilitarian, is accompanied by symbolic interpretations and beliefs fueled by the invisibility of this resource. Such is the case with Ryu-jin, the water deity, nestled within the fissures of the earth.
Kyoto was founded during the Heian period on one of the country’s largest aquifers. This omnipresence of water has shaped practices deeply rooted in the daily lives of the city’s residents: the production of tofu, sake, and wagashi; public baths; the tea ceremony; and gardens. Exploring this context reveals the connections between soil composition, geography, water quality, and the forms these practices take. While urbanization has led to profound changes in the soil—including drainage, the disappearance of certain rivers, and soil sealing—thereby causing erosion, increasing flood risks, and making it difficult for the aquifer to recharge, it is now necessary to redesign a path for groundwater—from the sky to the earth—that facilitates its return to the ground without passing through the sewer system. This involves taking into account its physical and symbolic dimensions to design systems that guide it back to its natural cycle while meeting the needs of human activities.
During her residency at Villa Kujoyama in Kyoto, from January to June 2026, Isabelle Daëron cataloged the objects that serve as interfaces with these invisible waters in Japan. The exhibition *Chikasui* presents the first phase of this research, combining drawings and cartography, in which the boundary between public and domestic spaces blurs, leading to a narrative and historical re-framing of groundwater.
Groundwater primarily refers to water that seeps into the ground and feeds an aquifer. From the sky to the earth, it flows over surfaces covered with vegetation, asphalt, gravel, trees, and leaves, then passes through layers of sand and rock. It is sometimes extracted for a variety of uses, ranging from water supply to manufacturing, irrigation, cleaning, and more. This relationship, which at first glance appears purely utilitarian, is accompanied by symbolic interpretations and beliefs fueled by the invisibility of this resource. Such is the case with Ryu-jin, the water deity, nestled within the fissures of the earth.
Kyoto was founded during the Heian period on one of the country’s largest aquifers. This omnipresence of water has shaped practices deeply rooted in the daily lives of the city’s residents: the production of tofu, sake, and wagashi; public baths; the tea ceremony; and gardens. Exploring this context reveals the connections between soil composition, geography, water quality, and the forms these practices take. While urbanization has led to profound changes in the soil—including drainage, the disappearance of certain rivers, and soil sealing—thereby causing erosion, increasing flood risks, and making it difficult for the aquifer to recharge, it is now necessary to redesign a path for groundwater—from the sky to the earth—that facilitates its return to the ground without passing through the sewer system. This involves taking into account its physical and symbolic dimensions to design systems that guide it back to its natural cycle while meeting the needs of human activities.
During her residency at Villa Kujoyama in Kyoto, from January to June 2026, Isabelle Daëron cataloged the objects that serve as interfaces with these invisible waters in Japan. The exhibition *Chikasui* presents the first phase of this research, combining drawings and cartography, in which the boundary between public and domestic spaces blurs, leading to a narrative and historical re-framing of groundwater.
A well, installation, 115x115x55 cm, cardboard, rope, pebbles
Chikasui Concept Drawing, felt-tip pen drawing, 9 pieces, 42x29.7 cm
Chikasui research wall, 336x178 cm
The research wall is a central tool in Isabelle Daëron’s work. It consists of a collage of A3-sized sheets on which she arranges, as the project takes shape, a variety of documents: site photographs, excerpts from plans, surveys, texts, drawings, textures, iconographic references, color palettes, models, and so on. This wall allows her to connect factual data with formal intuitions, ultimately leading to the development of a project.
A path of groundwater, installation
This installation presents ongoing research into systems for accessing groundwater. Through references to certain traditional objects and Japanese mythology, it offers a narrative exploration of the utilitarian and symbolic dimensions of this resource. It consists of six systems described below. These initial prototypes, made of cardboard and gouache-painted paper, serve as starting points for further development in the near future.
Atlas of groundwater access systems, felt-tip pen drawing, 20 sizes, 21x15 cm
Chikasui tenugui made using the Chusen technique by Shirushi Zome
During her residency at Villa Kujoyama, Isabelle Daëron began a collaboration with the Kameya Yoshinaga confectionery in Kyoto. Since 1803, this confectionery has been producing wagashi using groundwater from the Samegai Spring.
At the exhibition opening, Kameya Yoshinaga prepared about fifty pieces of Chikasui no wagashi, which were offered for tasting.
2026.06.26 -> 2026.09.13
Exhibition at the Institut Français in Tokyo, 15 Ichigayafunagawaramachi, Shinjuku City, Tokyo 162-8415, Japan
Organized by: Institut français de Tokyo
Co-organized by: Villa Kujoyama
With the support of: Fondation Bettencourt Schueller, ADAGP
Thank you to Kameya Yoshinaga / kameya-yoshinaga.com and Ooiri / ooiri-co.com for their invaluable collaboration;
Thank you to the Tara Ocean Foundation for the Tokyo-Onomichi micro-residency, which allowed me to set out in search of Ryugu-jo;
Thank you to the team at Studio Idaë for their help in developing this exhibition;
Thank you to CCCF and 51action for producing the Chikasui Café;
Photo and video credits: Kohei Yamamoto