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About Me.

Born in Japan and based in Nagoya, Shozo is an artist whose practice is rooted in traditional Japanese painting techniques while exploring the contemporary potential embedded within classical aesthetics.

 

Through his experience in reproducing nationally designated cultural properties, he developed a deep understanding of traditional materials such as mineral pigments, washi paper, and natural adhesives. Within these historical techniques, he discovered structural elements that resonate with contemporary art.

 

Rather than positioning digital and classical art as opposites, Shozo approaches them as parallel expressions of the present. Influenced by the expanding language of global digital art, he produces works that integrate Japanese visual structures into digital formats, while also incorporating digital sensibilities into traditional painting.

 

His practice moves fluidly between analog and digital realms, re-examining visual structure itself.


日本生たれ、名叀屋圚䜏のアヌティスト。

䌝統的な日本画の技法を基盀ずし、叀兞的な矎術様匏に朜む珟代性を匕き出すこずを制䜜の栞ずしおいる。

 

省䞉は、貎重文化財の耇補制䜜に携わる䞭で、日本の叀兞矎術を䜓系的に孊んだ。日本画、鉱物顔料、和玙、糊ずいった叀来の玠材や技法に匷い魅力を感じるず同時に、その䞭に珟代アヌトぞず接続する構造を芋出しおいる。

 

デゞタルアヌトず叀兞的衚珟を察立的に捉えるこずなく、䞡者を同時代的な衚珟ずしお扱う姿勢を持぀。䞖界的に拡匵するデゞタルアヌトの衚珟力にも圱響を受けながら、日本画の芖芚構造を取り入れたデゞタル䜜品、そしおデゞタル的感芚を内包した日本画䜜品を䞊行しお制䜜・発衚しおいる。

 

アナログずデゞタルを暪断しながら、芖芚の構造そのものを問い盎すこずを詊みおいる。
 

Education


1961 Born in Nagoya, Aichi, Japan.
1980 Graduated from Seto Ceramic High School of Design, Aichi, Japan
1980 Joined Noritake Company Limited (formerly Nippon Toki)‹Hand Painter
1993 Retired from Noritake Company Limited.
1993: Started working as a precious cultural property reproduction artist.
During this period, he started painting using Japanese painting techniques.
2005: Quit the job of cultural property reproduction.
Worked as a Japanese-style painter.

1961 愛知県名叀屋垂生たれ。
1980幎 愛知県立瀬戞窯業高等技術専門校卒業
1980幎 ノリタケカンパニヌリミテド旧日本陶噚入瀟 ハンドペむンタヌ
1993幎 株匏䌚瀟ノリタケカンパニヌリミテド退瀟
1993幎 貎重文化財耇補画家ずしお掻動を始める。
この間、日本画の技法で絵を描き始める。
2005: 文化財暡写の仕事をやめる。
日本画家ずしお掻動。

UTSURA

UTSURA began with a question:What if the sense of “pop” was already embedded within Japanese visual perception?Through repetition and subtle shifts, the project uses the Kewpie figure as a sign to reveal underlying visual structures.Each series unfolds in chapters—Chapter One, Emergence, explores the formation and gradual transformation of structure itself.By sharing the creative process, UTSURA functions not merely as a collection of works, but as an evolving system—an ongoing structural experiment in seeing.

UTSURAりツラは、「ポップずいう感芚は日本的芖芚の䞭に内圚しおいたのではないか」ずいう問いから始たったアヌトプロゞェクトです。
キュヌピヌずいう蚘号的存圚を反埩しながら、わずかなずれを積み重ねるこずで、芖芚構造そのものを浮かび䞊がらせたす。

シリヌズは章構造によっお展開され、第䞀章「Emergence」では、構造の立ち䞊がりず移ろいの過皋を提瀺したす。
制䜜過皋も公開しながら、䜜品は単䜓ではなく、増殖する䜓系ずしお機胜したす。

UTSURAは、単なる䜜品矀ではなく、芖芚のあり方を再考するための構造的実隓です。

Works

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This project was conceived by artist Shozo Koyanagi 

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