I am launching a new experience-based program where participants can view and purchase contemporary art to support young artists in Kyoto.
Would you be interested in supporting and raising global awareness of young Kyoto artists through Japan Tomorrow?
My first step is to create new connections between visitors and artwork, to materialize these aspirations into reality. The experience will be different from exhibitions at conventional art fairs and galleries.
I have always loved admiring and viewing art. My greatest pleasure has been traveling to renowned art galleries and museums around the world.
Duncan Phillips, a celebrated American art collector, once said, "Paintings can see the beauty all about us." I believe that artwork inspires us to see the beauty in the world that we experience every day.
Until now, I would mostly view masterpieces from prominent figures. My relationship with art was informed by reading the commentaries from art curators.
My work allowed me to live in Tokyo, then Osaka and Shanghai. Kyoto became my permanent home four years ago. The way I view art has dramatically changed since.
What caused this change? While attending a graduation exhibition at the Kyoto University of the Arts, I purchased a piece that caught my eye. This allowed me to converse with the artist in person and see their creativity for myself.
These artists pay attention to world events and things that pique their interests from various angles. These observations are interpreted from multiple perspectives, which are then reflected in their work.
What sensory filter do they see the world through? What are their mindsets, and how do they perceive things?
I asked these questions directly to the artists. It allowed me to learn more about their creative process and deepen my appreciation for their work. This was something I had never experienced before.
The artworks in my collection contain the artists' love and feature themes that move me. When decorating my home with these pieces, I felt a jolt of happiness that adds thrill and energy to my daily life.
It would be my joy to share this experience with more people around me. Since then, I have been committed to supporting the activities of contemporary artists and expanding their audience. This is the foundation for launching this project.
The city of Kyoto is popular among visitors for its history steeped in traditional culture and arts. Meanwhile, young artists use Kyoto's innovative art culture as a stage for introducing new values into this tradition. They are creating history with fresh ideas and producing innovative works.
Kyoto City alone is home to eight art universities with 2,000 graduates every year. Kyoto has plenty of potential to shine within the contemporary art genre.
That said, the number of people who can continue working in Kyoto has decreased significantly, despite half of the graduates wishing to stay active in the creative field. It's hard to call Kyoto an adequate environment for these talented contemporary art students to thrive after graduation.
There are three things that young artists require to continue their creative activities:
A place where they can create art.
The ability to create spaces or opportunities to present their artwork, such as an exhibition.
An environment where they can earn revenue through sales.
In addition to the above, it's vital for artists to be affiliated with an art gallery. However, the harsh reality is that only a select few will be in the spotlight.
Nowadays, the art market has expanded its reach online through social media and web services. However, it still relies on offline counterparts (galleries, art fairs, etc.).
Thus, I believe it's essential to create a new system that supports young contemporary artists. This will be accomplished by creating a space for sales opportunities, separate from conventional galleries and art fairs.
Use of Funds
Funds collected through crowdfunding will be allocated towards operation expenses (i.e. photography expenses to capture the creative process, interpreter-guides, artwork collections, website production costs, etc.) to hold the event mentioned above.
I will report the final use of funds directly to project supporters and on my website.
I would appreciate your kind support if you agree with our goals and objectives.
Atelier & Studio
Several artists from the workshops listed below will participate in the project as a fusion atelier-studio where art is made.
- 西垣肇也樹 / Hayaki Nishigaki
- 竹内 義博 / Yoshihiro Takeuchi
- 作田優希 / Yuki Sakuta
- 森綾乃 / Ayano Mori
- 高瀬栞菜 / Kanna Takase
- 岡田佑里奈 / Yurina Okada
- 松岡柚歩 / Yuzuho Matsuoka
- 藤本純輝 / Atsuki Fujimoto
- 三浦光雅 / Koga Miura
- 森井沙季 / Saki Morii
Atelier Tour Schedule
Atelier tours are scheduled to take place on the weekends during June and July, 2021.
Regardless of the date, tours will be held from 4:00 pm to 6:00 pm.
Each tour will be a small group of five or less participants.
We shall adhere to guidelines set by the national government, Kyoto Prefecture, and affiliated organizations while taking protective measures against COVID-19. Countermeasures will be put into effect to prevent the spread of infection during our events. Tour dates are subject to postponement or conversion to online tours, based on the future status of COVID-19 cases. We kindly ask for your understanding.
In Japan, there is a sense of enjoyment in our repetitive ideology and mass culture to stay the same against the passage of time. This can become an endless loop of emptiness. But perhaps it’s possible to escape from this “excursion around Shangri-la,” similar to when the first Kamen Rider discovered his self-pride by coincidence. I attempt to achieve this through art in a sort of suspension of the senses.
This is a new challenge for me and a new approach to photography. This work is composed of single, coincidental, and uncontrollable natures. It is something that expresses a unique perspective in photography. Photography can vividly capture what it sees, creating living snippets only seen in pictures. I give the photographed subject fresh movement by transferring and cracking it. In my relationship with photography, I connect with the photo, incorporating paints and other techniques.
Dream in out 00
Dream in out 01
I love summer vacations.
Each fun-filled day is full of pure white clouds floating in the blue sky. The days are also super hot. In the mornings, I wear a straw hat to catch beetles, swim in the river, and
eat watermelon during the day. When night falls, I then change into a yukata to attend summer festivals. The fireworks shoot up into the air as I eat grilled squid. Of course, the cicadas cry and cry until they die from exhaustion. I shout “Tamaya!” during the fireworks. As the summer ends, I wonder to what extent can I experience, remember, and yearn for my beloved summer vacation? Do I have summer vacations? Or is my summer vacation happening now?
My paintings are the same.
Well, I Want New Info!
Go and You’ll Understand
A painting that isn’t taken innocently with a desire to feel and doesn’t assert itself.
The candid, carefree, and careless.
I want to forever chase something profound in a space beyond logic and language.
Endlessly in an open space without pandering.
There is a living presence that has adapted and transformed itself in our daily lives. For us humans, there is a beastly shadow that conceals its fangs and sharp claws that we cannot see. I am drawn to that inexplicable relationship between mortals and beasts and express it through my art.
A Cheetah, Jar, and Sheep
Slight Premonitions (Unfamiliar Air Disguised as Coincidence)
The kanji characters for word or “kotoba” in Japanese are expressed in the compound “kotonoha” (“word” and “leaf”). This term is considered poetic language.
There are over 6,000 languages in the world.
The Earth is a forest brimming with poetic language. I collect and bind those words together.
To me, painting feels like picking up the fallen leaves during a walk in the forest.
The Founder of the Buendía Family
The Origin of Tales
A Portrait for Whom?
When I was younger, I loved taking apart things I didn’t quite understand and dividing them into individual parts. I felt like I could figure it out by checking each piece with my own two hands. Color layering is an accumulation of time. I mix paints, rinse my brushes, and wait for it to dry. Gradually, I layer on more colors. As time changes its shape, I can, at last, organize the things around me. I create as I experience the unease and charm in the transition of substances from patterns to paints to the finished painting.
sharp (check #01)
sharp (check #02)
I create paintings while subtly aware of aspects in their layout, such as motifs, materials, and the placement of colors and pigments.
I pay attention to the properties of my materials, hand-dye my fabrics, and layer them on top of one another. I make these choices so they can complement the inherent quality of my motifs.
A cluster of materials made with fabrics and lumps of paint then transforms the image. The result is a painting with a garden landscape blooming into a riot of color.
Fancy “ideals” enshrouded in people’s expectations when they make a wish, and obscure “fiction” tinged with anxiety when the fruition of that ideal is threatened. “Relief” when you receive the love that you yearn for from others and the “fear” that another may break past your walls. These conflicting elements always coexist, swallowing one another, and repeat the process of renewing themselves in our minds.
The scene that I picture is fluid like a video. But those movements are slow, the weight of emotions a hindrance. It resembles a still image that slowly emits magnetism. The act of layering paints to me is like adding layers of massive emotions intricately piled together. I express the view of the chaotic world found within humans in the confined space of my paintings.