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kayaki susumu

make-up/collage artist

Year: 2023

Material/Technique: Photograph, Inkjet Print, Pigment

Size: 29.8 × 26.3 × 4.3 cm

Edition: Unique

Signed:Included

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About the Work

Year: 2023
Material/Technique: Photograph, Inkjet Print, Pigment
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: Photograph
Style: Pop Art, Conceptual, Portrait, Half Abstraction, Others

Work Details

約25年メイクアップアーティストとして活動を通じ

自身のメイクの作品を用いた写真を
アナログ手法で　自身の手で切って、貼って　オリジナルの
コラージュ作品を制作。

メイクアップアーティストとしての作品制作は
モデルが居て、フォトグラファーに写真を撮ってもらい、
レタッチも入り　どんどん自身の手から離れて
いわばチームでの作品として出来上がることに　
喜びと、達成感を感じると共に
自分だけの表現はできないかと　思いのもと
一度　確実に完成させられた自身の（チームでの）作品を
改めて　思うままに（ある種乱暴に）再構築することにより
どこにもいない女性を表現しています。

一つの作品には　それぞれのピースにより
その時、その瞬間の自分の思い、技術が
時間軸関係なく混ざり合い
多種多様なあらゆるデータ収集から基づく生成AIでの表現への
アンチテーゼであり、自己表現になっています。

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Note: Prices are displayed as reference prices converted at the exchange rate. Payments are made in Japanese yen.

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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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Last updated date

07.05.2024

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