Born               February 3 , 1971   

                         Tokyo, Japan

 

Nationarity     Japanese

 

Education      Musashino Art University of Fine Arts, Rhode Island School of Design,  Royal College of Art

 

known for       Artist

 

Notable work  A series of “Soft Basquiat”

 

Movement      Post-pop art, Fan art         

 

Education

1993-1996  Musashino Art University of Fine Arts,Painting Course,Ma, Tokyo, Japan

2012-2014
BFA Sculpture, Rhode Island School of Design, Providence, RI, USA

2014-2016
MA Sculpture, Royal College of Art, London, UK

Residency
(upcoming) DRAWinternational, Caylus, France
(upcoming) Pinea-Linea de Costa, Rota, Spain

Exhibitions

2017
‘Camden Art Centre / RCA Sculpture Project’, Camden Art Centre, London, UK
‘Khojaly Peace Prize Exhibition’, House of Parliament (Palace of Westminster), London, UK
2016
'RCA Secret 2016’, Kensington Gallery, London, UK
‘Strings’, Project Space, Royal College of Art, London, UK
‘Oxford International Art Fair’, Oxford Town Hall, Oxford, UK
‘Borders are for crossing’, Sculpture Court, University of Edinburg, Edinburg, UK
‘WIP Show’, Royal College of Art, London, UK
2015
'ECA@RCA: Borders are for crossing', Studio RCA, London, UK
'Drawing', Royal College of Art, London, UK
'Senior Sculpture Show', Woods Gerry Gallery, Rhode Island School of Design, Providence, RI, USA
'EnAct, ReAct', Metcalf building, Rhode Island School of Design, Providence, RI, USA
'2015 Community Exhibit', IMAGO Foundation for the Arts, Warren, RI, USA
2014
'Pale Firework', Gelman Gallery, Rhode Island School of Design, Providence, RI, USA
'Please Wait...Generating', Taylor Baldwin's Studio, Providence, RI, USA
'Life, Existence, Identity', Metcalf building, Rhode Island School of Design, Providence, RI, USA
2013
'Design Selections', Waterman Art Gallery, Rhode Island School of Design, Providence, RI, USA
'Drawing Selections', Waterman Art Gallery, Rhode Island School of Design, Providence, RI, USA

Performance and Publication
2017

ArtMaze Magazine, Issue 4 (August, 2017)
Wotisart Magazine, Issue 4 (July, 2017)
Average Art Magazine (March, 2017)
Floor Magazine, Issue 8 (February, 2017)
2015
A Day’-24 hours non-stop performance at RISD, Providence, RI, USA

Awards & Honers
2017
Khojaly peace prize (win second prize), London, UK
2016
Bloomberg New Contemporary (shortlisted), London, UK
2013-2015 
Designated as Honors Student at RISD for achievements of Fall and Spring Semester, Providence, RI, USA

 

 

I began to study painting in Tokyo, Japan. During the 1990s I worked in the manner of the Regionalists, being influenced also by the Mexican muralist painters (Orozco, Rivera, Siqueiros) and by certain aspects of Surrealism.
  By the mid 2000s I was painting in a completely abstract manner, and the `drip and splash' style for which I am  known emerged with some abruptness in 2000s. Instead of using the traditional easel I affixed my canvas to the floor or the wall and poured and dripped my paint from a can; instead of using brushes I manipulated it with `sticks, trowels or knives' (to use my own words), sometimes obtaining a heavy impasto by an admixture of `sand, broken glass or other foreign matter'. This manner of Action painting had in common with Surrealist theories of automatism that it was supposed by artists and critics alike to result in a direct expression or revelation of the unconscious moods of the artist. 
  It would be suggested that I was influenced by Native American sand paintings, made by trickling thin lines of colored sand onto a horizontal surface. It was not until the mid 2000s that I began my "action" paintings, influenced by Surrealist ideas of "psychic automatism" (direct expression of the unconscious). I would fix my canvas to the floor and drip paint from a can using a variety of objects to manipulate the paint.

 

私は、日本国東京で絵画を研究し始めました。
1990年代の間に、私はRegionalistsの方法で働きました。そして、また、メキシコの壁画家画家(オロスコ、リヴェラ、シケイロス)によって、そして、Surrealismの特定の面によって影響されました。
  私が完全に抽象的な方法に塗っていた2000年代中頃と『したたって、はね返す』こと、私が有名であるスタイルは、2000年代にいくらかの無愛想で出てきました。
従来のイーゼルを使う代わりに、私はキャンバスを床または壁に添付して、流れ出て、缶からペンキをしたたらせました;
ブラシを使う代わりに、『棒、こてまたはナイフ』(私自身の語を使用するために)で、私はそれを操作しました。そして、時々『砂、割れたガラスまたは他の異物』の混合物によって重いインパストを得ました。
それが同様にアーティストと批評家によってアーティストの意識不明のムードの直接の表現または暴露に終わると思われた自動性の理論が、Action絵のこの方法には、Surrealistと同じようにありました。 
  私がアメリカインディアンの砂絵によって影響されたことが示唆されます。そして、水平面の上へ色のついた砂のしたたっている弱い台詞によってなされます。
私が「行動」絵を開始したのは2000年代中頃まではでありませんでした。そして、「精神的な自動性」(意識不明のものの直接の表示)についてのSurrealist考えによって影響されました。
私はキャンバスを床に取り付けて、ペンキを操作するためにいろいろな物を使っている缶から、ペンキをしたたらせます。

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