Wonderland
Year: 2023
Material/Technique: Paper, Photograph, Inkjet Print, Collage, Resin, Colored Pencil, Vinyl
Size: 29.8 × 26.3 × 4.3 cm
Edition: Unique
Signed:Included
This artwork can no longer be purchased.
SOLD OUT
Note: Prices are displayed as reference prices converted at the exchange rate. Payments are made in Japanese yen.







About the Work
- Year
- 2023
- Material/Technique
- Paper, Photograph, Inkjet Print, Collage, Resin, Colored Pencil, Vinyl
- Size
- 29.8 × 26.3 × 4.3 cm
- Edition
- Unique
- Signed
- Included
- Frame
- Included
- Work Certificate
- Not Set
- Distributor of artworks
- kayaki susumu
- Ship-from Area
- Not Set
- Days Until Dispatch
- Not Set
- Category
- Design
- Style
- Conceptual, Portrait, Half Abstraction, Fantasy
Work Details
How to Buy
This artwork can no longer be purchased.
SOLD OUT
Note: Prices are displayed as reference prices converted at the exchange rate. Payments are made in Japanese yen.
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Artist
make-up/collage artist
Born in Nagano After working at a beauty salon in Tokyo, she went to the US with the intention of becoming a makeup artist. Since I got to know a lot of people, I continued free cutting at the park for about 2 years without being able to understand words During that time, he studied under various make-up artists. After a backpacking trip around India from Thailand, Laos, and Nepal Move the base of activities back to Tokyo Free ideas raised in nature, Have a unique vivid point of view nurtured by encounters with various people and cultures Active in a wide range of fields regardless of genres such as fashion, beauty, and music. In parallel with my current makeup activities I created collage works based on my own makeup works. For over 25 years, I have worked as a makeup artist. Several years ago, I began creating collages using my own makeup work as source material, reconstructing it through analog techniques. Makeup work is a “team expression” created together with models, photographers, and retouchers. While finding joy in that process, I have also sought an expression completed solely by my own hands. Deliberately cutting apart finished works and reassembling them. Through this reconstructive act, which carries a certain violence, emerges an image of a woman that exists nowhere. Destroy to remember, construct to forget. Each piece crystallizes the time, thought, and technique I have accumulated, becoming, in a sense, a homogenized image of womanhood. And even the very idea— this stance of “generating new ideas from what already exists”— is a quiet message to consumer society, and a practice of conceptual upcycling.
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