outsider art from japan
DESCRIPTION
ÂTRANSCRIPT
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Until recently Japanese Outsider Art was a well kept secret. Made by people with mental illness or mental handicaps, these very special and quality pieces of art show a whole new side to Japan.
This carefully crafted publication comprises 46 biographies of Japanese artists. They are not trained to be
artists and have a mental illness or a mental handicap. Outsider Art is exceptionally expressive, these special artists communicate mainly via their artworks. Their art functions as an indispensable form of expression.The combination of short, but personally tinted biographies, combined with several examples of each artist’s work, let the creators
behind the art go out. Literally and fi guratively: since in Japan people with these conditions are often in institutions and kept outside the ‘normal’ society. This book therefor introduces not just remarkable artworks, but more importantly these wonderful artists, their background, their daily routine and the environment where their works are made.
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I have worked for many years for the welfare of
people with disabilities in Japan. While involved
in a wide range of activities that aid such people
who are making an effort to live ordinary lives,
on occasion I have met those persons who have
created works of art that refl ect their own unique
points of view. On each occasion I have wondered
about the possibilities of making their creative
works of art available to a wider audience, without
them being branded under the concept of “welfare”.
The exhibitions and activities of the Social Welfare
Organization Aiseikai as well as the Borderless Art
Museum NO-MA are an effort to put this concept
into reality. This museum, here in Haarlem in
the Netherlands, has taken on the challenge of
not just displaying “outsider art” but also making
efforts in other ways such as holding joint
exhibitions with so-called “normal” artists.
It has also served as a place that allows for
creation, interaction and energies of various
works of art. In addition, this museum also carries
out surveys and research to share knowledge
with the visitors. These include the aimed efforts
at scouting or looking for active artists in Japan.
Currently, we have begun initiating surveys in
other Asian nations, starting with South Korea.
In this fi eld of Outsider Art, we carried out an
exhibition entitled “Japon” at the Collection de l’Art
Brut at Lausanne in Switzerland four years ago.
We have also been blessed with the opportunity
of holding the exhibition “Art Brut Japonais” -
an exhibition of Japanese Outsider Art for one
year at the Halle Saint Pierre in Paris in 2010. This
series of exhibitions has attracted a great deal of
attention. Over 120,000 visitors in Paris viewed
this exhibition along with substantial mass
media coverage.
Presently, a decision has been made to hold the
“Outsider Art from Japan” Exhibition as a joint
project between Japan and the Netherlands
at the Museum Het Dolhuys. This will provide
an opportunity to raise the level of interest in
Outsider Art in Japan through learning about
the real world of Art Brut.
The fi rst time I visited the museum Het Dolhuys,
I was deeply struck by its earnest efforts in
educating the public and creating an encounter
with the persons who make Outsider Art.
Furthermore, it has been through my meetings
with Mr. Hans Looijen, the Director of the museum
Het Dolhuys, that I have truly become impressed
with his creative and idealistic vision for Outsider
Art. He is someone whom I shall never forget and be
forever grateful to have met and now had a chance
to collaborate with. I have also become impressed
with all the research that he has carried out.
There is a saying that goes, “one picture is worth
a thousand words”. This describes how simply
seeing something once is far better than hearing
numerous different explanations. This is highly
apt here, in that there is only way to gain a true
understanding of Art Brut. It is to see it in the
fl esh. This is because there are no suffi cient words
that are able to describe the way energy fl ows
directly from the actual works to the viewer and
can shake the very core of their psyche.
As a large-scale show full of Japanese works of
art, this exhibition of “Outsider Art from Japan”
should provide visitors with a vivid impression of
our Japanese psychological world. This is a world
which I would like to impart to the visitors of this
exhibition with the hope of increasing the public’s
recognition of Art Brut in general.
There are many people who imagine that there are
a number of works of art that are lying dormant in
Japan. These are works of art that one day, I hope,
will all come to light and that will be embodied
within the embrace of the Japanese culture, as
Art Brut did in the West.
In conclusion, I would like to express my sincere
appreciation for the assistance provided by
Mr. Hans Looijen and his staff as well as to all
of the other parties involved in the staging of
this exhibition.
Kengo Kitaoka,
chairman of the Shiga Prefecture Social Welfare Institute
Introduction
4
United States. The use of script by Takanori Herai,
the portrayal of beloved people, design schemes
for different cities by Norimitsu Kokubo or daily
objects by Koichi Fujino (who is on the catalogue
cover), a scripted version of radio broadcasts by
Hiroyuki Komatsu, movie posters from popular
Samurai fi lms by Daisuke Kibushi, piano keys and
calorie intake schedules by Koichiro Miya and
rhythmic movements on paper by Akane Kimura
all result in original and striking works of art.
They are as striking as the now world famous art
of Adolf Wölfl i, Henry Darger, George Widener or
Willem van Genk. Reality can take many different
forms and shapes, but is fi rmly rooted in the
personal universe of the artists. It is probably
therefore that the overall appearance to me comes
across as distinctively Japanese. It makes one
wonder if there is something like an ‘universal
language’ through Outsider Art. Romanticism
set aside; I think this is the human quality found
throughout the world. This makes these Japanese
artworks, until recently unknown to me and the
greater public, so recognizable and inviting, even
if there are dark thoughts and fears portrayed.
There is an ongoing discussion about the defi nition
and terminology used for these kinds of works. In
the French speaking world the term Art Brut was
introduced by Jean Dubuffet just after the Second
World War, after the introduction of the term
‘Outsider Art’ by Roger Cardinal in the early the
1970s the debate has moved in many directions.
Although nowadays less people are in favour of
making sharp distinctions between ‘professional
art’ and ’Outsider Art’, art made for reasons other
than to function in society and fi nd a place in the
context of the art world as such, is still looked
upon with doubts. It is my opinion that we are
often puzzled by the biography of the makers,
and this has everything to do with the notions on
‘normality’. For different reasons the makers hardly
ever participate in the discourse on meaning,
impact or let alone inspiration of their work. This
does not mean they are not aware of the existence
of great art, they do watch television, listen to the
radio, see or read magazines and books and interact
with the people in their lives. It is more than often
that works come into this world as a reaction or
THE COLLECTION PRESENTED IN THIS
CATALOGUE IS BROUGHT TO EUROPE ON
THE OCCASION OF THE PROJECT ‘OUTSIDER
ART FROM JAPAN’. IN THIS REMARKABLE
COLLECTION YOU WILL MEET VARIOUS ARTISTS
AND SEE THEIR EXTRAORDINARY WORKS
OF ART. THE SUBJECT OF THEIR THOUGHTS,
FEELINGS AND SOMETIMES EVEN OBSESSIONS
SEEM TO CONCERN DIFFERENT THEMES. SOME
EXPRESS THEIR DEEPEST DESIRES, LIVELY
FANTASIES OR UNLOAD THEIR FONDEST OR
SUPPRESSED MEMORIES. OTHERS ARE CLEARLY
FASCINATED WITH ORDERING THE WORLD
THROUGH A KIND OF PERSONAL SYSTEM.
THEY ALL HAVE ONE THING IN COMMON: THE
ARTISTS ALL COMMUNICATE TO THE OUTSIDE
WORLD THROUGH THEIR ARTWORKS.
My fi rst encounter with Japanese Outsider Art was
a few years ago at an exhibition in Paris. I was
overwhelmed by the beauty and quality of the
artworks. They invited me into a hidden world of
their makers. ‘Who are these makers?’, I wondered:
I had to fi nd out.
During my journey I encountered several unique
individuals and visited various Welfare facilities
in Japan. One of the moments I will never forget is
seeing Shinichi Sawada in a cabin in the mountains
making one of his beautiful sculptures. He was fully
occupied with making rhythmic movements with
such patience and care as if being in a trance. And
meeting his attendant; an older scholar devoted to
making sure he eats and drinks while preparing the
traditional Japanese kiln for fi ring the sculptures.
It was moving to see employees in all facilities
devoted to assist the artists with immense concern
and patience.
When viewing the artworks I do not see a literary
representation of the world of the artists but
more of a poetic display of aspects of life and its
possible meaning. I recognize subjects, patterns,
shapes and forms as seen in Outsider Art from
other parts of the world. It is for the reader to
compare and fi nd similarities in subjects and
ways of expressions as known from the, now
famous, outsider artists from Europe and the
‘counterbalance’ to exactly that world.The debate
as how to perceive ‘the other’ and what is to be
considered as normal and as abnormal changed
through time, in concordance with the dominant
values in society as can be seen in our permanent
exhibition. Het Dolhuys museum aims at an open
dialogue to encourage her visitors and the wider
public to refl ect on this all-important issue. In
this project I want to look past defi nitions and
terminology. For me, the debate on the defi nition of
Outsider Art is not interesting; the works presented
here are ‘just’ great works of art and deserve their
place in our art institutions, as in our lives. Who
would miss the chance to encounter these unique
individuals and the remarkable art they created, by
struggling to incorporate their work in some kind
of category or part of a corpus? well, that someone
is not me.
I am very proud we were given the chance to
display these works, starting in the Netherlands,
and I would like to express my appreciation and
thanks to the Honorable Governor of the Shiga
Prefecture Ms. Yukiko Kada, who kindly agreed
with this exhibition being held.
The staff of the Social Welfare Organization
Aiseikai and the Borderless Art Museum NO-MA
made this exhibition possible and prepared all
logistics. It is with admiration that I look upon
all the work they did. In particular I want to
take this opportunity to express many thanks
to Mr. Kengo Kitaoka, Chairperson of the Shiga
Prefectural Social Welfare Organization and the
Borderless Art Museum NO-MA, who supported
and promoted this project and involved the most
important ateliers in Japan, such as in Tokyo (the
outstanding institution ‘Maple Garden’), and
beyond. It is under his supervision that many
artists are able to devote their time to the art
here presented.
The collection will travel through Europe and will
hopefully create many more encounters with these
hidden worlds. There is an old Japanese saying;
‘the most beautiful fl owers often bloom in hidden
places’, I fully agree.
Hans Looijen, Director of museum Het Dolhuys
5
Looking at the works collected here I imagine some
people will think: “aren’t these works different from
what they call Art Brut in Europe and America?”
As pointed out by Adolf Wölfl i and Henry Darger
etc., Art Brut is a strictly defi ned world that allows
no room for these colours, motives, shapes and
motions full of sympathy for the world. They are
more bright than they are dark. Doesn’t all of this
change our understanding of what we call Art Brut?
It is correct to express doubt. These works
certainly are far different from what is called
Art Brut in Western Europe. It is also quite
different from Outsider Art. There is, after all,
this peculiarity in Japanese culture that is called
‘Japanisation’. As you may well know whenever
Japanese adopt something foreign as their own
they refi ne it and develop it further. That has
become their speciality. When the Kanji characters
were imported from China they didn’t stop at
inventing Kanji of their own, but derived from
them the Hiragana and Katakana systems of writing
(without which important masterpieces like the
Genji Monogatari would not likely have come into
being). When French cuisine was imported it
was adapted, which led to the birth of ‘nouvelle
cuisine’. Or consider for example cars, as well.
I believe that you may rightly say Japanese Art
Brut is also one of those things that underwent
a ‘Japanisation’. Not in the sense of changing
the works of art themselves but DuBuffet’s
(unspecifi ed) original idea of Art Brut as a
conceptual framework and the possibilities it held
for society, when being realised, deepened and
refi ned, is what Japanese Art Brut is about.
In this essay I will refer to this Japanese style of Art
Brut as art brut japonais (abj). The reason for not
capitalising ‘abj’ is that in Japan before modern
times, the fi eld of what we call ‘Art’ nowadays
didn’t exist back then. Japanese society, before and
around the end of the 19th century, conceptually
didn’t think of art as capitalised ‘Art’. Of course
there were works like the well-known Tohaku
Hasegawa’s paintings of pine forests, Unkei’s
Buddhist sculptures and the gardens of Masakazu
Kobori. However they are not referred to as artists
but as masters. Now, makers of ‘abj’ make us rethink
what ‘great works’ are ought to be in an era without
artists and where ‘Art’ has lost its signifi cance.
That is why I have chosen to shorten it to ‘abj’.
As Julia Kristeva pointed out, you have to be
mindful of your infl uence when attempting a
systemisation of culture and not to remove
‘abject’ things. Of course I have no intention of
calling ‘abj’ works ‘abject’. Paying attention to this
is important because during the course in which
‘Art’ is institutionalised, many things are thrown
overboard and therefore I think it is worthwhile
to point out one of them.
‘ABJ’ AS A SYSTEM
Then again ‘abj’ is also not simply a noun covering
all works, nor is it simply an adjective describing
a quality. It means something of a system. In what
way, you ask?
If I may digress briefl y to make an intro duction,
‘abj’ is already being noticed by renowned
Japanese culturists such as Shinichi Nakazawa,
anthropologist and theologian, Kyoichi Tsuzuki,
photographer and editor, Rundy Taguchi,
writer, and so forth. Among them, Tamaki Saito,
psychiatrist, when confronted with Art Brut
stated a code of Ethical Practise was necessary.
Four criteria are of importance here: one must
be discreet in 1. ‘not criticising’ 2. ‘not showing
appreciation’ and 3. ‘no diagnosing’, on top of
which Tamaki Saito also proposes a more forward
attitude, namely 4. ‘to behold and relate to’.
Thus, the important thing about Art Brut is that
it is in original form, removed from both ‘Art’ and
psychiatry (however Saito was talking about art
brut in general). ‘To behold and relate to’, is the
proper way to approach these works.
This approach is, as a matter of fact, steadily being
practised. It is how ‘abj’ came into being. The
process up until ‘abj’ came into being had seen
a lot of ‘collaborations’. I would say that many
‘abj’ works fi nd their origin in the circumstances
surrounding people with mental defi ciencies, not
mental disorders. (Of course ‘abj’ also includes
works by the socially isolated, the elderly and
many more. Not to marginalise the wide diversity
of makers of Art Brut but it so happens that it
features an overwhelming number of mentally
defi cient persons).
For example at the scene of creation, staff of the
institution often decides what paper, coloured
pens or motives to give to the maker. Of course the
maker has a fi nal decision in what he or she will use
in his or her art, but there is no mistake as to the
attending staff having a great infl uence in this, too.
Looking from a point of view where the creativity
of the individual is stressed, in this case it is being
denied to them. However should we really deny
them this? In this so-called world of Modern Art
where we talk of ‘collaborations’, ‘abj’ is, simply
put, not being recognised as such. Still, this kind
of ‘unconscious collaboration’ occurs often in
the world of Modern Art though not only to seek
appreciation, but shouldn’t we appreciate it more?
When you take the time to read through the
history of Art Brut in Japan, certainly the activities
of Mizu no Ki Institution in Kyoto will show up.
They excessively collaborated and at the time
were criticised for it. But in this light we should
re-evaluate what they did.
The possibilities of Japanese Art Brut (abj)Kenjiro Hosaka, Curator of The National Museum of Modern Art, Tokyo
6
The steps of creation are also infl uenced. People
who take interest enter the surrounding and, at
times, exceed the scope of their duties and organise
private exhibitions at their own institution. Or,
they apply for exhibitions to be held elsewhere.
And then the people who attend those will start
to spread the word and this pattern repeats itself.
Connections give birth to more connections. In
this sense, ‘abj’ is completely different from ‘art
singulier’. Like this, from a Romantic stance ‘abj’
is extraordinarily free.
Furthermore, presently ‘abj’ is not being ap proa-
ched by commercial galleries. This entails that
‘abj’ is not yet being assessed for its eco nomical
market value and is relatively free to pursue
artistic creativity, but for how long? They might
say these are the works of amateurs from the Far
East, but ‘abj’ is no laughing matter. At some point
in some way, you always have to start from zero.
‘ABJ’ AND THE SUPER-AGEING SOCIETY
Abj has the potential to reform society. Who feels
this most acutely is Kengo Kitaoka, Chairman of
the Shiga Prefectural Social Welfare Organization
He is well known for his efforts in promoting
‘abj’. I asked him: “why do you, someone who has
realised many reforms in our welfare system, pour
your energy into ‘abj’?” He replied: “Maybe welfare
cannot protect people. I realise that maybe it is art
that can”. (14th February, 2012 in conversation).
You could say ‘abj’ has come to achieve a particular
development, acting as a driving force in welfare
more than it does in Art. Therein certainly lies
an attitude that respects human dignity by way
of valuing creative behaviour. At that point not
only mentally handicapped but also elderly enter
the scope of who make ‘abj’. Kitaoka says: “In this
super-ageing society, can welfare bring people
together? Ultimately, isn’t it culture that brings
people together? What tells you it is ok for you
to keep living? Breathing isn’t the hard part, you
know. Isn’t culture, or the arts, the driving force
behind our existence”.
This expression to me, as a curator of an art
gallery, came as a big surprise. Art, the history of
it, and the methods by which it is evaluated, could
they return to their social origins? The important
thing is not to take theory as-is. It is putting it
to practical use. What is important now is not to
increase the number of art galleries, collections, or
to increase the prestige of Japanese art. It is about
the acknowledgement as a means to show respect
for humans. This method should be implemented
cross-genre.
At this very moment the Japanese welfare state
is pressed for a response to the looming super-
ageing society. Statistics as of 1st of October 2010
state that on a population of 128 million, those of
65 years or older comprise a never seen before 29.5
million. The reason for calling it a super-greying
society is because the elderly comprise 23.1% of the
total population. This layer of people, a quarter
of all citizens, cannot be ignored. Or rather should
be noticed.
In 2006 The NOMA Borderless Art Museum held
an exhibition that appealed to the (power of)
imagination of elderly, ‘A Record of Speed Walking
Elderly – As They Age They Become More Radical’.
The planner of this exhibition, NOMA’s art director
Yoshiko Hata, stated the following: “ageing doesn’t
have this negative aspect of decreasing one’s energy
but frankly on the contrary, that energy explodes
in one’s remaining life years. At times they will
express themselves more radically and excessively
than younger generations, such energy is what we
would like to try and support.”
Also before modern times there were many cases
where people started to produce works only after
reaching old age. Sengai (1750-1837) who is famed
for his Zen paintings, as well as Mokujiki (1718-1810),
known for his simple Buddhist sculptures, began
producing their works well over the age of 60.
But because both of them, being monks, pursued
knowledge and became splendid intellectuals
you can’t really call their works Art Brut. Be that
as it may their works engender a fairly simplistic
style, and still today enjoy widespread popularity.
Considering this, preparing a framework for sup-
porting those who start their creative work after
reaching old age, is an urgent (but enjoyable) task.
THE RELATION BETWEEN CULTURE AND
WELFARE WITH REGARDS TO THE JAPANESE
CONSTITUTION
Of great interest is that the intimate relation
between culture, welfare and the Japanese con-
stitution (1947) can be confi rmed. It is written in
article 25 as follows:
1. All people shall have the right to maintain the minimum
standards of wholesome and cultured living.
2. In all spheres of life, the State shall use its endeavours
for the promotion and extension of social welfare and
security, and of public health.
In fact, as far as the Japanese constitution is
concerned the word ‘culture’ only appears in this
article. Furthermore more limiting words such as
‘Art’ are not mentioned at all. In contrast, ‘public
welfare’ is mentioned four times and ‘social welfare’
only once. And yet it is clear that article 25 is not
independent of culture. At the very least it states
that for a minimum standard of wholesome and
cultured living, culture is necessary.
This says a great deal when we compare this to
how other countries’ constitutions deal with
culture. For example the preamble to France’s
constitution of the fourth republic states: “The
Nation guarantees equal access for children and
adults to instruction, vocational training and
culture”. And in the constitution of Spain; article
20 expresses freedom of expression, article
44 promotes and protects the right to access
culture, and furthermore article 46 guarantees
the preservation of historic, cultural, and artistic
capital regardless of who owns them.
The Japanese constitution doesn’t carry a paragraph
or provision dedicated to culture or arts as these
examples do. The meaning it carries is that it is
extremely poor in substance. Nevertheless, you could
also say that this lack of detail con versely means that
there is room for multiple interpretations. In other
words, as far as Japan is concerned, culture and arts
are not independently being protected (or, not being
backed). Rather, creative behaviour and cultural
capital, from a welfare point of view, are supported
for their intimate relation with life itself.
7
century model alternative art space, and attempt
to construct a place for artists, with or without
handicap, where the core parts can meet with
mutual infl uence (Place of Core+Relation ART).
With that goal in mind they already held their
public exhibition twice before 2011. In contrast with
public exhibitions where primarily handicapped
persons apply for, the exhibition gave birth to an
unique situation where Art students and elderly
were also included.
In this way, opportunities for ‘abj’ to be exhibited in
public Art Museums and alternative spaces steadily
increase. Clearly this here is one of the things that
leads to a rebirth of ‘abj’, or maybe serve as a guide.
‘Abj’ sheds a light on our future.
Then, in closing, I would like to make one fi nal
introduction. When discussing the welfare of
Japan we cannot forget about Kazuo Itoga
(1914 - 1968) who, shortly after the end of the
second world war, founded facilities in Shiga
Prefecture for war orphans and the disabled. And
he spoke thusly: “Let these children be the light
of the world”. Showing compassion for the disabled
and war orphans, not by showering our own light
on them but, by being acutely aware of the fact
it is them who teach us so many things with only
a few words. To take them as guide in this world
and make it better, is well expressed in Itoga’s
thoughts. I follow his words and would want to
shout out now, here: “Let ‘abj’ be the light of the
world!” At this time what is important is not who
are part of ‘abj’ and what is or isn’t included. It is
about what ‘abj’ teaches us and, based on that,
what it can do for us.
When we speak of creation, behaviour safeguar-
ded by all of mankind, we should be feeling now
the signs of the birth of a model where people
can support one another. I would like to state
once more that this right here is not an one-
sided relationship of one supporting the other.
It is rather mutually supportive, a two-way
relationship. This is what really holds my interest,
and what leads to the birth of societies. 'Abj' makes
us think about why we have started to forget these
things and teaches us with a smile.
Still, it is well known the Japanese consti tution
was drafted up at the General Headquarters
(GHQ), but the GHQ draft did originally not carry
article 25. The ‘right to live’, was later added by the
Japanese. In that meaning too, you could say in
this article lurks a characteristically Japanese way
of thinking.
BORDERLESS EXHIBITIONS AT JAPANESE
PUBLIC ART GALLERIES
The coexistence of art and welfare is already
beginning to take on various shapes. There are
for example many temporary exhibitions being
held at Art Museums, for instance: ‘Life’, held at
Mito Art Tower in 2006, ‘Emotional Drawing’, held
at the National Museum of Modern Art Tokyo in
2008, ‘Innocence – Art Towards Life’, held at the
Tochigi Prefectural Museum of Fine Arts in 2010
etc., and it is likely this interest will only increase.
I expect that cases where Art Museums and
alternative spaces will have to deal with ‘abj’
will only increase.
For example one of the Art Museums managed
by Tokyo City and one of Japan’s oldest museums,
the Tokyo Metropolitan Art Museum, plans for
large scale reno vations and a grand reopening in
2012. For this occasion they announced that they
work hard to expand their activities to provide
a space for creation and symbiosis. One of the
activities for realising this goal is to arrange for
art by handicapped persons to be introduced once
every three years starting 2014 (additionally, there
are plans for exhibitions focussing among other
things on architecture and living space).
In Shiga Prefecture, next to Kyoto, the Prefectural
Modern Art Museum plans to free itself from the
model of ‘Modern Art Museums’ on the occasion
of the 30th anniversary in 2014. Interestingly for
that event in a revolutionary move they will place
religious art with a focus on sculptures together
with Art Brut.
Furthermore artist Masato Nakamura,
representing ‘3331 Arts Chiyoda’, together with
‘POCOLART’ started what, for the time being,
they call ‘Exercise’. They are advocates of 21st
1HERE I AM
‘The most beautiful fl owers often bloom in hidden places’JAPANESE PROVERB
10
Takahiro SHIMODA(1983 - ) Iwate Prefecture
The orange circles that fi ll every inch of the white sweat suit
are salmon roe. Not content to simply adorn the clothing,
the neckband has been undone and resewn, producing an
air of perseverance that belies the initial impression of a
pop sensibility. This is not just a piece of clothing. It is fully
inhabited by the artist’s persistence and passion.
Shimoda, who lives in a group home in Iwate Prefecture in
northern Japan, simply wanted to wear the things he loves,
which took the form of “Salmon Roe Pajamas.” It has been
speculated that he loves salmon roe and sea urchin (he has
drawn blue sea urchins on pairs of briefs) because he was
raised along the coast of the Pacifi c Ocean. He has also made
pajamas adorned with other things he loves: tempura-fried
squid, Kentucky Fried Chicken, dove-shaped biscuits.
一
01
P. 11, left:Salmon Roe Pajamas2004Thread, oil-based marker, acrylic paint, Pyjamas1525 x 1370 mmCollection of the artist
P. 11, upper right:"Hato Sable" (Pigeon-shaped Cookies) Pajamas2006Thread, oil-based marker, acrylic paint, Pyjamas1585 x 1470 mmCollection of the artist
P. 11, bottom right:01 Takahiro SHIMODA
11
12
M.K.(1978- ) Shiga Prefecture
M.K. fi nds his subjects among the photographs in maga-
zines, but when he draws them, they appear in an uniquely
deformed style. Perhaps this is because his psychological
state is always in fl ux, and his eye is roving. But as his draw-
ings take shape, they seem to transform into a form of con-
fi dence within him. When he has fi nished a drawing, a smile
of relief washes across his face. The result is a bold form that
stands in sharp contrast to the uncertain, hesitant style of
his drawing. These two contrasting elements of nature that
appear in his work are the source of its appeal.
M.K. lives with his family and commutes to a nearby facility
for people with intellectual disabilities, where he works as
a papermaker. He makes his art at a studio program that the
facility hosts twice a month.
二
02
13
Korean Animals2004Water-based pen, oil-based ink pen,cardboard198 x 382 x 6 mmCollection of the artist
É Lady in Under-garments2008Water-based pen, Cardboard381 x 195 x 6 mmCollection of the artist
03 Hideaki YOSHIKAWA02 M.K.
16
Hideaki YOSHIKAWA ( 1970- ) Shiga Prefecture
The eyes, noses, and mouths in Yoshikawa’s works are
produced with dots. Whether he is working with clay
or other materials, his “faces” are made the same way.
Innumerable dots, composed with consistent spacing: eye,
eye, nose, mouth, repeated from the top of the work to the
bottom, drawn carefully, according to his own rules. The
faces are layered on each other, gradually gaining mass and
coming together as a unity.
He works with his face just 10 cm from the clay, and the
scope of his view is extremely narrow. Sometimes one needs
a magnifying glass to confi rm that the composition is made
up of faces.
03三