tokyo.shibuya

Born in Kawagoe, Saitama, and lives in Tokachi, Hokkaido. “Scenes that touch the outline of memory” are used as the catchphrase, and it depicts beautiful moments and beings that “I want to say to someone, but I want to keep it to myself” that I see in my daily life. Born in 1991 in Kawagoe, Saitama. A landscape painter living in Tokachi, Hokkaido. Since I was a teenager, I often think about identity, and I am impressed by the idea that various acts are impermanent. While in college until a few years after graduation, I work not only on 2D painting, but also on dance and theater, starting with live painting, which is created in real time. After going to Wakkanai, the northernmost tip of Japan, for live painting in 2017, I once again became interested in the fact that there are various values for life in Japan, and in 2019, I drew “Mt. Kawara in Summer” while experiencing emigration in Kawara-machi, Fukuoka Prefecture. After going through the coronavirus vortex, I began to focus on things that are more familiar to me. Look back at roadside flowers and familiar scenery, and think about abundance. Taking advantage of the sale of about 50 works in 2022, they moved to Taiki in Tokachi, Hokkaido in early summer 2023 in order to focus on production in earnest. He left his hometown Kawagoe and took on the challenge of a new stage. Artist statement “Scenes that touch the outline of memory” are used as the catchphrase, and it depicts beautiful moments and beings that “I want to say to someone, but I want to keep it to myself” that I see in my daily life. There are no immutable things in this world, and I think that's why humans want to stay connected. Amidst the ever-changing landscape every day, what do we use as a landmark to call ourselves? I think it's adorable, and at the same time, by incorporating a moment into my work, I may want to scoop out all five senses, starting with emotions and smell, and the space they were in from oblivion and keep them connected. When we live, our vision doesn't capture everything in this world, and I think we trace the shape of this world as if we were in touch with our emotions. I think what you “see” at that time is linked to emotions. In production, I carefully pick up the shape, record it, and instead of drawing what is there, I depict the world I saw.