onlooker. I try to let them play with each other. But they can't or they are somehow repressed because they are alike. They do not want conflicts. But when they meet they feel as if they were  looking in a mirror. That is why they imitate each other, hide or carefully try to make contact; they do not want to stare at each other. That is where the strange athmosphere comes from. As an onlooker I can see them and feel as if I was also one of them." Akane Kimbara

Akane's works have been compared to diary notes by critics. This is not quite right in my opinion. There is no identifiable I-figure here, it is not reported in a time frame. It is not about reporting about how the day went or what traces I left behind on such and such a date.

As well as in the light clusters and the black pauses of the actual video work as well as in the white background drawings mostly done in the DIN A5 format -up here, groundfloor- A.K. synthesizes an unpersonal personal trace which cuts our seeing habits of the three-dimensional central perspective space as if like behind a pane of glass.
Since forever the far eastern tradition has verified this open space. Zen, Buddah, the Chi of the Chinese is without space and time, the revelation of a 'to be'  inmidst of an event, hinted at in calligraphy signs. Comparable to the method of Haiku it is about to let flash up the so-called truth, the hidden in a few contrary steps, better beats of a metrum.

We here in the West - with Christian tradition - struggled with the vanishing point of the viewing pyramide, at which top originally Christ was to be thought of. With increasing profanation this substance has been forgotten, or rather the space has been taken over by the unfolding ME. In cars and trains we still speed to the horizon even though in modernity at the beginning of last century then also this viewing pyramide broke apart cubistically.
In the poststructurally present the different repertoires are now available and serve for the different references.
 

In my opinion the special about Akane Kimbara's drawings/signs is that with the ease of poststructural sense fragments in a way calls up so-to-say animisms, which only for now appear but in contrary to those of her teacher Schwontkowski are free of irony, system critics, free of mourning about lost pedestals for the ego, spaces, streets for the army.  She just starts on her own - despite G8 and Iraq - to develope a poetical room for a short while.
Even though said to be dead for the present this poetical behind the glaspane of the picture field so-to-speak is the bearing element of her works. She is able to set for the eye so-to-speak ideograms, visuell poetry, texts - fulll of humor and cheerful  calmness, with sensibility on the look-out for directness of the expression of feeling.
In Japanese this is called  Shikakushi.
 
In the 50ies of last century the so-called Stuttgarter Schule (Stuttgart School) around Max Bense and Helmut Hei§enbŸttel existed, where it already came to a mutual orientation of Eastern image understanding  and the West (literature). The so-called Konkrete Poesie (concrete poetry) came out of this. I quote Max Bense: Konkrete poesie unterhŠlt nicht. sie hat die mšglichkeit der faszination und faszination ist eine form der konzentration/  und zwar einer konzentration, die sich gleichermassen auf die perzeption des materialen/ wie auf die apperzeption seiner bedeutung erstreckt, (Concrete poetry does not entertain. It has the possibility of fascination and fascination is a kind of concentration/ that is a concentration which covers at the same time the perception of the matter as well as the apperception of its meaning), this is how the structuralist and kybernetic Max Bense formulated in an exhibition catalog.*
For your understanding from Wikipedia:
In discrimination to perception apperceptin was used by L. for the spiritual proceeding by which  sensually given was understood, adopted, moved to consciousness, put into a conscious relation through attentiveness and memory.
 
Akane's drawing as apperception?
Example drawing with figure in green that holds its own head in its hand.