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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

神話から生たれた蚘号は、時代ず土地を枡りながら姿を倉えおきたした。

クピドは倧衆化されキュヌピヌになり、倪平掋を越えお日本にも根を䞋ろした蚘号です。

文化の差異を超えた蚘号は、普遍性を持ちたす。

私はその蚘号、キュヌピヌを日本画的に捉え描いおいたす。

蚘号をもう䞀床倉換し、新しい芋え方を提瀺しおいたす。

これは珟代の浮䞖絵です。

浮䞖絵がそうであったように、肉筆原画を頂点に、ゞヌクレヌなどで版を刷り、広く届ける。

江戞期の浮䞖絵ず違うのは、版元が絵垫を兌ねるずころです。

こうしお時ず堎所を超えおきた蚘号を独自の芖点で育お、

再IP化するこずを目指しおいたす。
 

Symbols born from mythology have transformed as they traveled across time and place.

Cupid became Kewpie — popularized, made universal — and crossed the Pacific to take root in Japan.

A symbol that transcends cultural difference carries within it a kind of universality.

I take that symbol, Kewpie, and render it through the lens of Japanese painting.

Transforming the symbol once more, presenting it in a new way of seeing.

This is contemporary ukiyo-e.

As ukiyo-e once did, I place original brushwork paintings at the apex,

print editions through giclée and other means, and send them into the world widely.

What differs from Edo-period ukiyo-e is that here, the publisher and the painter are one.

Through this, I aim to cultivate a symbol that has traveled across time and place —

and re-establish it as IP.

That is UTSURA.

Works

個展、癟貚店出展、海倖アヌトフェア招埅などの掻動もしおおりたす。

 

・個展倚数

 

・癟貚店
犏岡䞉越様

倩満屋様

倧分トキハ様

束山䞉越様

そごう倧宮様

などなど

 

海倖アヌトフェア

・Kiaf SEOUL

・ART BUSAN

・Taipei Dangdai

・ART SG

・Art Santa Fe

・Untitled Art

・Art Brussels

・Art Dubai

などなど

 

幜玄奇譚

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This project was conceived by artist Shozo Koyanagi 

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