I want to express flowers blooming in the garden, children playing, and warm moments of daily life.

When I paint the female nude, the combination of sensuous curves and complex colors somehow makes the nude look abstract. To put it another way, the ability to use any color for skin tones without feeling uncomfortable is a pleasure for me. I also enjoy the time I spend looking at the model while I paint, but when I am finishing up, I also find it an indispensable pleasure to “break” the shape of the model and let my imagination take over.

Hiroki Kishimoto (b. 1982) has developed his own unique world of Japanese-style painting, which is not too much bound by the framework of Japanese-style painting, but also adds the realism of Western-style painting. Since his grandfather was a Japanese painter in the Seiryusha (a Showa-era Japanese painting organization formed in 1929 by Ryuko Kawabata, a Japanese painter), painting with Japanese painting materials from his childhood was a fun and playful time for him, and he naturally became attracted to the world of painting. While using Japanese painting materials, I was also attracted to the centripetal realism of Antonio Lopez Garcia, a favorite of mine when I was a student, and I have somehow come to aim for a new frontier of Japanese painting, which is a fusion of the anti-realism of Kaii Higashiyama and his anthemic imagery. I am often attracted to relief-like structures and alleyways in foreign countries (mainly in Europe), and I depict not only the sce

I always have the same theme at the bottom of my heart. It is to express what people cannot see and cannot express, such as space, air, time, and distance. I always try to depict the colorless transparency that exists between the eye and the object, rather than using objects as a medium for unrealistic expression.

I make it based on “curiosity”. It may be an act of trying to unravel the “why?” There, such as animals, women, flowers, shapes, colors, life, memories, time, and invisible things.

Using iwa-enogu (mineral pigments) and metallic mud and foil, the motifs of flora and fauna are expressed in the style of old ink paintings. Please look at the expression of Japanese painting today.

Nakagami Seisho (b. 1961) paints motifs of people and cats with a sense of life and rich gradation of light. What is the season captured on that screen? If it is a woman, I want to convey the beauty of the difference in age. If it is a cat, I want the viewer to feel the difference between a domestic cat and a stray cat in an instant. By capturing everything on the screen in color, the work appeals to the viewer’s imagination and expresses the color of light and even the scent of the wind, although in reality it only smells like an oil painting. Born left-handed, Seisho Nakagami was corrected to be right-handed in his childhood and painted with his right hand until his late twenties. However, when he encountered Klee’s words, “I will not paint with my right hand, which is stained with letters,” he tried painting with his left hand for the first time in his life, and found that it added nuance to his paintings and gave them more life. After that, I repea

Using women and cats as motifs, I create my works with an emphasis on the inner world and presence that can be sensed through the casual expressions and gestures of everyday life.

As a graduate of the design department, he is exploring visual expression appropriate to the times with “design x Japanese painting” in mind. Accepting the past created by the masters and denying the past at the same time is a necessary process to create new values.   Takeshi Nagoya HP http://nagoyatakashi.com/

No matter how happy or sad we are, no matter what the weather is like, the four seasons always come and go, and the greenery of the trees and plants remind us of the seasons with their gentle flowers. I am always grateful for the unchanging nature of the seasons, which gives me strength and kindness.

When I turn the calendar around, there is always a new landscape there. I am glad to go through several seasons, as if something I had forgotten comes back to my heart. There is light, shadow, and color in the wind that brushes my cheek. And I want to capture something like a fragrance in the landscape. I want to draw the heart of nature.   Mikiko Noji HP http://nojimikiko.jp/

I mainly create works using cats and people as motifs. I hope I could touch someone’s heartstrings by sublimating what I am attracted to and what I find fragile and beautiful into my works through my own filter.   Masaaki Hikita HP http://www.masaakihikida.com/

Makoto Fujii (b. 1984) creates works on the theme of “Japanese realism”, which is neither Japanese nor Western painting, and is at once new and nostalgic. Just as Impressionist painters were once inspired by Japanese ukiyoe and pioneered new expressions, Fujii is once again seeking a fusion of Japan and the West in the modern age. He chooses “water” as a motif to depict the shimmering formless things with oil paint, and continues to paint them because he is attracted by the fascination and figurative beauty of the way they change every time he paints them. It has become an important existence for the artist who aims to express the feeling of formless things that sway in the wind and change color depending on the light. I want to create works of art that will be treasured by people in the future, when they find them hundreds of years after my death, in a completely different language and culture. I want to express the universal strength that lies

The theme that I express by copperplate engraving is “Small happiness”. I draw “the story of small life” by overlapping it with small animals, plants and flowers. I am healed and encouraged by the gestures and expressions of animals. They gently remind me that there are important things in the activities we repeat so naturally that we don’t even notice.