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ART FROM

Until recently Japanese Outsider Art was a well kept secret. Made by people with mental illness or mental handicaps, these very special and quality pieces of art show a whole new side to Japan.

This carefully crafted publication comprises 46 biographies of Japanese artists. They are not trained to be

artists and have a mental illness or a mental handicap. Outsider Art is exceptionally expressive, these special artists communicate mainly via their artworks. Their art functions as an indispensable form of expression.The combination of short, but personally tinted biographies, combined with several examples of each artist’s work, let the creators

behind the art go out. Literally and fi guratively: since in Japan people with these conditions are often in institutions and kept outside the ‘normal’ society. This book therefor introduces not just remarkable artworks, but more importantly these wonderful artists, their background, their daily routine and the environment where their works are made.

120100_omslag.indd 1120100_omslag.indd 1 22-03-12 12:2722-03-12 12:27

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3

I have worked for many years for the welfare of

people with disabilities in Japan. While involved

in a wide range of activities that aid such people

who are making an effort to live ordinary lives,

on occasion I have met those persons who have

created works of art that refl ect their own unique

points of view. On each occasion I have wondered

about the possibilities of making their creative

works of art available to a wider audience, without

them being branded under the concept of “welfare”.

The exhibitions and activities of the Social Welfare

Organization Aiseikai as well as the Borderless Art

Museum NO-MA are an effort to put this concept

into reality. This museum, here in Haarlem in

the Netherlands, has taken on the challenge of

not just displaying “outsider art” but also making

efforts in other ways such as holding joint

exhibitions with so-called “normal” artists.

It has also served as a place that allows for

creation, interaction and energies of various

works of art. In addition, this museum also carries

out surveys and research to share knowledge

with the visitors. These include the aimed efforts

at scouting or looking for active artists in Japan.

Currently, we have begun initiating surveys in

other Asian nations, starting with South Korea.

In this fi eld of Outsider Art, we carried out an

exhibition entitled “Japon” at the Collection de l’Art

Brut at Lausanne in Switzerland four years ago.

We have also been blessed with the opportunity

of holding the exhibition “Art Brut Japonais” -

an exhibition of Japanese Outsider Art for one

year at the Halle Saint Pierre in Paris in 2010. This

series of exhibitions has attracted a great deal of

attention. Over 120,000 visitors in Paris viewed

this exhibition along with substantial mass

media coverage.

Presently, a decision has been made to hold the

“Outsider Art from Japan” Exhibition as a joint

project between Japan and the Netherlands

at the Museum Het Dolhuys. This will provide

an opportunity to raise the level of interest in

Outsider Art in Japan through learning about

the real world of Art Brut.

The fi rst time I visited the museum Het Dolhuys,

I was deeply struck by its earnest efforts in

educating the public and creating an encounter

with the persons who make Outsider Art.

Furthermore, it has been through my meetings

with Mr. Hans Looijen, the Director of the museum

Het Dolhuys, that I have truly become impressed

with his creative and idealistic vision for Outsider

Art. He is someone whom I shall never forget and be

forever grateful to have met and now had a chance

to collaborate with. I have also become impressed

with all the research that he has carried out.

There is a saying that goes, “one picture is worth

a thousand words”. This describes how simply

seeing something once is far better than hearing

numerous different explanations. This is highly

apt here, in that there is only way to gain a true

understanding of Art Brut. It is to see it in the

fl esh. This is because there are no suffi cient words

that are able to describe the way energy fl ows

directly from the actual works to the viewer and

can shake the very core of their psyche.

As a large-scale show full of Japanese works of

art, this exhibition of “Outsider Art from Japan”

should provide visitors with a vivid impression of

our Japanese psychological world. This is a world

which I would like to impart to the visitors of this

exhibition with the hope of increasing the public’s

recognition of Art Brut in general.

There are many people who imagine that there are

a number of works of art that are lying dormant in

Japan. These are works of art that one day, I hope,

will all come to light and that will be embodied

within the embrace of the Japanese culture, as

Art Brut did in the West.

In conclusion, I would like to express my sincere

appreciation for the assistance provided by

Mr. Hans Looijen and his staff as well as to all

of the other parties involved in the staging of

this exhibition.

Kengo Kitaoka,

chairman of the Shiga Prefecture Social Welfare Institute

Introduction

4

United States. The use of script by Takanori Herai,

the portrayal of beloved people, design schemes

for different cities by Norimitsu Kokubo or daily

objects by Koichi Fujino (who is on the catalogue

cover), a scripted version of radio broadcasts by

Hiroyuki Komatsu, movie posters from popular

Samurai fi lms by Daisuke Kibushi, piano keys and

calorie intake schedules by Koichiro Miya and

rhythmic movements on paper by Akane Kimura

all result in original and striking works of art.

They are as striking as the now world famous art

of Adolf Wölfl i, Henry Darger, George Widener or

Willem van Genk. Reality can take many different

forms and shapes, but is fi rmly rooted in the

personal universe of the artists. It is probably

therefore that the overall appearance to me comes

across as distinctively Japanese. It makes one

wonder if there is something like an ‘universal

language’ through Outsider Art. Romanticism

set aside; I think this is the human quality found

throughout the world. This makes these Japanese

artworks, until recently unknown to me and the

greater public, so recognizable and inviting, even

if there are dark thoughts and fears portrayed.

There is an ongoing discussion about the defi nition

and terminology used for these kinds of works. In

the French speaking world the term Art Brut was

introduced by Jean Dubuffet just after the Second

World War, after the introduction of the term

‘Outsider Art’ by Roger Cardinal in the early the

1970s the debate has moved in many directions.

Although nowadays less people are in favour of

making sharp distinctions between ‘professional

art’ and ’Outsider Art’, art made for reasons other

than to function in society and fi nd a place in the

context of the art world as such, is still looked

upon with doubts. It is my opinion that we are

often puzzled by the biography of the makers,

and this has everything to do with the notions on

‘normality’. For different reasons the makers hardly

ever participate in the discourse on meaning,

impact or let alone inspiration of their work. This

does not mean they are not aware of the existence

of great art, they do watch television, listen to the

radio, see or read magazines and books and interact

with the people in their lives. It is more than often

that works come into this world as a reaction or

THE COLLECTION PRESENTED IN THIS

CATALOGUE IS BROUGHT TO EUROPE ON

THE OCCASION OF THE PROJECT ‘OUTSIDER

ART FROM JAPAN’. IN THIS REMARKABLE

COLLECTION YOU WILL MEET VARIOUS ARTISTS

AND SEE THEIR EXTRAORDINARY WORKS

OF ART. THE SUBJECT OF THEIR THOUGHTS,

FEELINGS AND SOMETIMES EVEN OBSESSIONS

SEEM TO CONCERN DIFFERENT THEMES. SOME

EXPRESS THEIR DEEPEST DESIRES, LIVELY

FANTASIES OR UNLOAD THEIR FONDEST OR

SUPPRESSED MEMORIES. OTHERS ARE CLEARLY

FASCINATED WITH ORDERING THE WORLD

THROUGH A KIND OF PERSONAL SYSTEM.

THEY ALL HAVE ONE THING IN COMMON: THE

ARTISTS ALL COMMUNICATE TO THE OUTSIDE

WORLD THROUGH THEIR ARTWORKS.

My fi rst encounter with Japanese Outsider Art was

a few years ago at an exhibition in Paris. I was

overwhelmed by the beauty and quality of the

artworks. They invited me into a hidden world of

their makers. ‘Who are these makers?’, I wondered:

I had to fi nd out.

During my journey I encountered several unique

individuals and visited various Welfare facilities

in Japan. One of the moments I will never forget is

seeing Shinichi Sawada in a cabin in the mountains

making one of his beautiful sculptures. He was fully

occupied with making rhythmic movements with

such patience and care as if being in a trance. And

meeting his attendant; an older scholar devoted to

making sure he eats and drinks while preparing the

traditional Japanese kiln for fi ring the sculptures.

It was moving to see employees in all facilities

devoted to assist the artists with immense concern

and patience.

When viewing the artworks I do not see a literary

representation of the world of the artists but

more of a poetic display of aspects of life and its

possible meaning. I recognize subjects, patterns,

shapes and forms as seen in Outsider Art from

other parts of the world. It is for the reader to

compare and fi nd similarities in subjects and

ways of expressions as known from the, now

famous, outsider artists from Europe and the

‘counterbalance’ to exactly that world.The debate

as how to perceive ‘the other’ and what is to be

considered as normal and as abnormal changed

through time, in concordance with the dominant

values in society as can be seen in our permanent

exhibition. Het Dolhuys museum aims at an open

dialogue to encourage her visitors and the wider

public to refl ect on this all-important issue. In

this project I want to look past defi nitions and

terminology. For me, the debate on the defi nition of

Outsider Art is not interesting; the works presented

here are ‘just’ great works of art and deserve their

place in our art institutions, as in our lives. Who

would miss the chance to encounter these unique

individuals and the remarkable art they created, by

struggling to incorporate their work in some kind

of category or part of a corpus? well, that someone

is not me.

I am very proud we were given the chance to

display these works, starting in the Netherlands,

and I would like to express my appreciation and

thanks to the Honorable Governor of the Shiga

Prefecture Ms. Yukiko Kada, who kindly agreed

with this exhibition being held.

The staff of the Social Welfare Organization

Aiseikai and the Borderless Art Museum NO-MA

made this exhibition possible and prepared all

logistics. It is with admiration that I look upon

all the work they did. In particular I want to

take this opportunity to express many thanks

to Mr. Kengo Kitaoka, Chairperson of the Shiga

Prefectural Social Welfare Organization and the

Borderless Art Museum NO-MA, who supported

and promoted this project and involved the most

important ateliers in Japan, such as in Tokyo (the

outstanding institution ‘Maple Garden’), and

beyond. It is under his supervision that many

artists are able to devote their time to the art

here presented.

The collection will travel through Europe and will

hopefully create many more encounters with these

hidden worlds. There is an old Japanese saying;

‘the most beautiful fl owers often bloom in hidden

places’, I fully agree.

Hans Looijen, Director of museum Het Dolhuys

5

Looking at the works collected here I imagine some

people will think: “aren’t these works different from

what they call Art Brut in Europe and America?”

As pointed out by Adolf Wölfl i and Henry Darger

etc., Art Brut is a strictly defi ned world that allows

no room for these colours, motives, shapes and

motions full of sympathy for the world. They are

more bright than they are dark. Doesn’t all of this

change our understanding of what we call Art Brut?

It is correct to express doubt. These works

certainly are far different from what is called

Art Brut in Western Europe. It is also quite

different from Outsider Art. There is, after all,

this peculiarity in Japanese culture that is called

‘Japanisation’. As you may well know whenever

Japanese adopt something foreign as their own

they refi ne it and develop it further. That has

become their speciality. When the Kanji characters

were imported from China they didn’t stop at

inventing Kanji of their own, but derived from

them the Hiragana and Katakana systems of writing

(without which important masterpieces like the

Genji Monogatari would not likely have come into

being). When French cuisine was imported it

was adapted, which led to the birth of ‘nouvelle

cuisine’. Or consider for example cars, as well.

I believe that you may rightly say Japanese Art

Brut is also one of those things that underwent

a ‘Japanisation’. Not in the sense of changing

the works of art themselves but DuBuffet’s

(unspecifi ed) original idea of Art Brut as a

conceptual framework and the possibilities it held

for society, when being realised, deepened and

refi ned, is what Japanese Art Brut is about.

In this essay I will refer to this Japanese style of Art

Brut as art brut japonais (abj). The reason for not

capitalising ‘abj’ is that in Japan before modern

times, the fi eld of what we call ‘Art’ nowadays

didn’t exist back then. Japanese society, before and

around the end of the 19th century, conceptually

didn’t think of art as capitalised ‘Art’. Of course

there were works like the well-known Tohaku

Hasegawa’s paintings of pine forests, Unkei’s

Buddhist sculptures and the gardens of Masakazu

Kobori. However they are not referred to as artists

but as masters. Now, makers of ‘abj’ make us rethink

what ‘great works’ are ought to be in an era without

artists and where ‘Art’ has lost its signifi cance.

That is why I have chosen to shorten it to ‘abj’.

As Julia Kristeva pointed out, you have to be

mindful of your infl uence when attempting a

systemisation of culture and not to remove

‘abject’ things. Of course I have no intention of

calling ‘abj’ works ‘abject’. Paying attention to this

is important because during the course in which

‘Art’ is institutionalised, many things are thrown

overboard and therefore I think it is worthwhile

to point out one of them.

‘ABJ’ AS A SYSTEM

Then again ‘abj’ is also not simply a noun covering

all works, nor is it simply an adjective describing

a quality. It means something of a system. In what

way, you ask?

If I may digress briefl y to make an intro duction,

‘abj’ is already being noticed by renowned

Japanese culturists such as Shinichi Nakazawa,

anthropologist and theologian, Kyoichi Tsuzuki,

photographer and editor, Rundy Taguchi,

writer, and so forth. Among them, Tamaki Saito,

psychiatrist, when confronted with Art Brut

stated a code of Ethical Practise was necessary.

Four criteria are of importance here: one must

be discreet in 1. ‘not criticising’ 2. ‘not showing

appreciation’ and 3. ‘no diagnosing’, on top of

which Tamaki Saito also proposes a more forward

attitude, namely 4. ‘to behold and relate to’.

Thus, the important thing about Art Brut is that

it is in original form, removed from both ‘Art’ and

psychiatry (however Saito was talking about art

brut in general). ‘To behold and relate to’, is the

proper way to approach these works.

This approach is, as a matter of fact, steadily being

practised. It is how ‘abj’ came into being. The

process up until ‘abj’ came into being had seen

a lot of ‘collaborations’. I would say that many

‘abj’ works fi nd their origin in the circumstances

surrounding people with mental defi ciencies, not

mental disorders. (Of course ‘abj’ also includes

works by the socially isolated, the elderly and

many more. Not to marginalise the wide diversity

of makers of Art Brut but it so happens that it

features an overwhelming number of mentally

defi cient persons).

For example at the scene of creation, staff of the

institution often decides what paper, coloured

pens or motives to give to the maker. Of course the

maker has a fi nal decision in what he or she will use

in his or her art, but there is no mistake as to the

attending staff having a great infl uence in this, too.

Looking from a point of view where the creativity

of the individual is stressed, in this case it is being

denied to them. However should we really deny

them this? In this so-called world of Modern Art

where we talk of ‘collaborations’, ‘abj’ is, simply

put, not being recognised as such. Still, this kind

of ‘unconscious collaboration’ occurs often in

the world of Modern Art though not only to seek

appreciation, but shouldn’t we appreciate it more?

When you take the time to read through the

history of Art Brut in Japan, certainly the activities

of Mizu no Ki Institution in Kyoto will show up.

They excessively collaborated and at the time

were criticised for it. But in this light we should

re-evaluate what they did.

The possibilities of Japanese Art Brut (abj)Kenjiro Hosaka, Curator of The National Museum of Modern Art, Tokyo

6

The steps of creation are also infl uenced. People

who take interest enter the surrounding and, at

times, exceed the scope of their duties and organise

private exhibitions at their own institution. Or,

they apply for exhibitions to be held elsewhere.

And then the people who attend those will start

to spread the word and this pattern repeats itself.

Connections give birth to more connections. In

this sense, ‘abj’ is completely different from ‘art

singulier’. Like this, from a Romantic stance ‘abj’

is extraordinarily free.

Furthermore, presently ‘abj’ is not being ap proa-

ched by commercial galleries. This entails that

‘abj’ is not yet being assessed for its eco nomical

market value and is relatively free to pursue

artistic creativity, but for how long? They might

say these are the works of amateurs from the Far

East, but ‘abj’ is no laughing matter. At some point

in some way, you always have to start from zero.

‘ABJ’ AND THE SUPER-AGEING SOCIETY

Abj has the potential to reform society. Who feels

this most acutely is Kengo Kitaoka, Chairman of

the Shiga Prefectural Social Welfare Organization

He is well known for his efforts in promoting

‘abj’. I asked him: “why do you, someone who has

realised many reforms in our welfare system, pour

your energy into ‘abj’?” He replied: “Maybe welfare

cannot protect people. I realise that maybe it is art

that can”. (14th February, 2012 in conversation).

You could say ‘abj’ has come to achieve a particular

development, acting as a driving force in welfare

more than it does in Art. Therein certainly lies

an attitude that respects human dignity by way

of valuing creative behaviour. At that point not

only mentally handicapped but also elderly enter

the scope of who make ‘abj’. Kitaoka says: “In this

super-ageing society, can welfare bring people

together? Ultimately, isn’t it culture that brings

people together? What tells you it is ok for you

to keep living? Breathing isn’t the hard part, you

know. Isn’t culture, or the arts, the driving force

behind our existence”.

This expression to me, as a curator of an art

gallery, came as a big surprise. Art, the history of

it, and the methods by which it is evaluated, could

they return to their social origins? The important

thing is not to take theory as-is. It is putting it

to practical use. What is important now is not to

increase the number of art galleries, collections, or

to increase the prestige of Japanese art. It is about

the acknowledgement as a means to show respect

for humans. This method should be implemented

cross-genre.

At this very moment the Japanese welfare state

is pressed for a response to the looming super-

ageing society. Statistics as of 1st of October 2010

state that on a population of 128 million, those of

65 years or older comprise a never seen before 29.5

million. The reason for calling it a super-greying

society is because the elderly comprise 23.1% of the

total population. This layer of people, a quarter

of all citizens, cannot be ignored. Or rather should

be noticed.

In 2006 The NOMA Borderless Art Museum held

an exhibition that appealed to the (power of)

imagination of elderly, ‘A Record of Speed Walking

Elderly – As They Age They Become More Radical’.

The planner of this exhibition, NOMA’s art director

Yoshiko Hata, stated the following: “ageing doesn’t

have this negative aspect of decreasing one’s energy

but frankly on the contrary, that energy explodes

in one’s remaining life years. At times they will

express themselves more radically and excessively

than younger generations, such energy is what we

would like to try and support.”

Also before modern times there were many cases

where people started to produce works only after

reaching old age. Sengai (1750-1837) who is famed

for his Zen paintings, as well as Mokujiki (1718-1810),

known for his simple Buddhist sculptures, began

producing their works well over the age of 60.

But because both of them, being monks, pursued

knowledge and became splendid intellectuals

you can’t really call their works Art Brut. Be that

as it may their works engender a fairly simplistic

style, and still today enjoy widespread popularity.

Considering this, preparing a framework for sup-

porting those who start their creative work after

reaching old age, is an urgent (but enjoyable) task.

THE RELATION BETWEEN CULTURE AND

WELFARE WITH REGARDS TO THE JAPANESE

CONSTITUTION

Of great interest is that the intimate relation

between culture, welfare and the Japanese con-

stitution (1947) can be confi rmed. It is written in

article 25 as follows:

1. All people shall have the right to maintain the minimum

standards of wholesome and cultured living.

2. In all spheres of life, the State shall use its endeavours

for the promotion and extension of social welfare and

security, and of public health.

In fact, as far as the Japanese constitution is

concerned the word ‘culture’ only appears in this

article. Furthermore more limiting words such as

‘Art’ are not mentioned at all. In contrast, ‘public

welfare’ is mentioned four times and ‘social welfare’

only once. And yet it is clear that article 25 is not

independent of culture. At the very least it states

that for a minimum standard of wholesome and

cultured living, culture is necessary.

This says a great deal when we compare this to

how other countries’ constitutions deal with

culture. For example the preamble to France’s

constitution of the fourth republic states: “The

Nation guarantees equal access for children and

adults to instruction, vocational training and

culture”. And in the constitution of Spain; article

20 expresses freedom of expression, article

44 promotes and protects the right to access

culture, and furthermore article 46 guarantees

the preservation of historic, cultural, and artistic

capital regardless of who owns them.

The Japanese constitution doesn’t carry a paragraph

or provision dedicated to culture or arts as these

examples do. The meaning it carries is that it is

extremely poor in substance. Nevertheless, you could

also say that this lack of detail con versely means that

there is room for multiple interpretations. In other

words, as far as Japan is concerned, culture and arts

are not independently being protected (or, not being

backed). Rather, creative behaviour and cultural

capital, from a welfare point of view, are supported

for their intimate relation with life itself.

7

century model alternative art space, and attempt

to construct a place for artists, with or without

handicap, where the core parts can meet with

mutual infl uence (Place of Core+Relation ART).

With that goal in mind they already held their

public exhibition twice before 2011. In contrast with

public exhibitions where primarily handicapped

persons apply for, the exhibition gave birth to an

unique situation where Art students and elderly

were also included.

In this way, opportunities for ‘abj’ to be exhibited in

public Art Museums and alternative spaces steadily

increase. Clearly this here is one of the things that

leads to a rebirth of ‘abj’, or maybe serve as a guide.

‘Abj’ sheds a light on our future.

Then, in closing, I would like to make one fi nal

introduction. When discussing the welfare of

Japan we cannot forget about Kazuo Itoga

(1914 - 1968) who, shortly after the end of the

second world war, founded facilities in Shiga

Prefecture for war orphans and the disabled. And

he spoke thusly: “Let these children be the light

of the world”. Showing compassion for the disabled

and war orphans, not by showering our own light

on them but, by being acutely aware of the fact

it is them who teach us so many things with only

a few words. To take them as guide in this world

and make it better, is well expressed in Itoga’s

thoughts. I follow his words and would want to

shout out now, here: “Let ‘abj’ be the light of the

world!” At this time what is important is not who

are part of ‘abj’ and what is or isn’t included. It is

about what ‘abj’ teaches us and, based on that,

what it can do for us.

When we speak of creation, behaviour safeguar-

ded by all of mankind, we should be feeling now

the signs of the birth of a model where people

can support one another. I would like to state

once more that this right here is not an one-

sided relationship of one supporting the other.

It is rather mutually supportive, a two-way

relationship. This is what really holds my interest,

and what leads to the birth of societies. 'Abj' makes

us think about why we have started to forget these

things and teaches us with a smile.

Still, it is well known the Japanese consti tution

was drafted up at the General Headquarters

(GHQ), but the GHQ draft did originally not carry

article 25. The ‘right to live’, was later added by the

Japanese. In that meaning too, you could say in

this article lurks a characteristically Japanese way

of thinking.

BORDERLESS EXHIBITIONS AT JAPANESE

PUBLIC ART GALLERIES

The coexistence of art and welfare is already

beginning to take on various shapes. There are

for example many temporary exhibitions being

held at Art Museums, for instance: ‘Life’, held at

Mito Art Tower in 2006, ‘Emotional Drawing’, held

at the National Museum of Modern Art Tokyo in

2008, ‘Innocence – Art Towards Life’, held at the

Tochigi Prefectural Museum of Fine Arts in 2010

etc., and it is likely this interest will only increase.

I expect that cases where Art Museums and

alternative spaces will have to deal with ‘abj’

will only increase.

For example one of the Art Museums managed

by Tokyo City and one of Japan’s oldest museums,

the Tokyo Metropolitan Art Museum, plans for

large scale reno vations and a grand reopening in

2012. For this occasion they announced that they

work hard to expand their activities to provide

a space for creation and symbiosis. One of the

activities for realising this goal is to arrange for

art by handicapped persons to be introduced once

every three years starting 2014 (additionally, there

are plans for exhibitions focussing among other

things on architecture and living space).

In Shiga Prefecture, next to Kyoto, the Prefectural

Modern Art Museum plans to free itself from the

model of ‘Modern Art Museums’ on the occasion

of the 30th anniversary in 2014. Interestingly for

that event in a revolutionary move they will place

religious art with a focus on sculptures together

with Art Brut.

Furthermore artist Masato Nakamura,

representing ‘3331 Arts Chiyoda’, together with

‘POCOLART’ started what, for the time being,

they call ‘Exercise’. They are advocates of 21st

1HERE I AM

‘The most beautiful fl owers often bloom in hidden places’JAPANESE PROVERB

10

Takahiro SHIMODA(1983 - ) Iwate Prefecture

The orange circles that fi ll every inch of the white sweat suit

are salmon roe. Not content to simply adorn the clothing,

the neckband has been undone and resewn, producing an

air of perseverance that belies the initial impression of a

pop sensibility. This is not just a piece of clothing. It is fully

inhabited by the artist’s persistence and passion.

Shimoda, who lives in a group home in Iwate Prefecture in

northern Japan, simply wanted to wear the things he loves,

which took the form of “Salmon Roe Pajamas.” It has been

speculated that he loves salmon roe and sea urchin (he has

drawn blue sea urchins on pairs of briefs) because he was

raised along the coast of the Pacifi c Ocean. He has also made

pajamas adorned with other things he loves: tempura-fried

squid, Kentucky Fried Chicken, dove-shaped biscuits.

一

01

P. 11, left:Salmon Roe Pajamas2004Thread, oil-based marker, acrylic paint, Pyjamas1525 x 1370 mmCollection of the artist

P. 11, upper right:"Hato Sable" (Pigeon-shaped Cookies) Pajamas2006Thread, oil-based marker, acrylic paint, Pyjamas1585 x 1470 mmCollection of the artist

P. 11, bottom right:01 Takahiro SHIMODA

11

12

M.K.(1978- ) Shiga Prefecture

M.K. fi nds his subjects among the photographs in maga-

zines, but when he draws them, they appear in an uniquely

deformed style. Perhaps this is because his psychological

state is always in fl ux, and his eye is roving. But as his draw-

ings take shape, they seem to transform into a form of con-

fi dence within him. When he has fi nished a drawing, a smile

of relief washes across his face. The result is a bold form that

stands in sharp contrast to the uncertain, hesitant style of

his drawing. These two contrasting elements of nature that

appear in his work are the source of its appeal.

M.K. lives with his family and commutes to a nearby facility

for people with intellectual disabilities, where he works as

a papermaker. He makes his art at a studio program that the

facility hosts twice a month.

二

02

13

Korean Animals2004Water-based pen, oil-based ink pen,cardboard198 x 382 x 6 mmCollection of the artist

É Lady in Under-garments2008Water-based pen, Cardboard381 x 195 x 6 mmCollection of the artist

03 Hideaki YOSHIKAWA02 M.K.

16

Hideaki YOSHIKAWA ( 1970- ) Shiga Prefecture

The eyes, noses, and mouths in Yoshikawa’s works are

produced with dots. Whether he is working with clay

or other materials, his “faces” are made the same way.

Innumerable dots, composed with consistent spacing: eye,

eye, nose, mouth, repeated from the top of the work to the

bottom, drawn carefully, according to his own rules. The

faces are layered on each other, gradually gaining mass and

coming together as a unity.

He works with his face just 10 cm from the clay, and the

scope of his view is extremely narrow. Sometimes one needs

a magnifying glass to confi rm that the composition is made

up of faces.

03三