尻上寿 SHIRIAGARI Kotobuki

内田 江美 Emi UCHIDA

水野亮 Ryo MIZUNO

2023.3.18 – 4.30



This is an unconventional exhibition that seems to be straying from the main theme. Why is it unconventional? The contents attached to and disseminated by the works of the three artists exhibited seem completely different from contemporary art under the traditional concept. It is a little off-line with the convention, and the thought is rather “Four-dimensional space” than otherwise.

When I first saw the works, I originally was trying to probe into Japanese humor, because the clues implied in the emotional transmission of the three artists’ works all have their sense of humor, but when “humor” can be described in words in a serious manner, it’s not very humorous anymore, so I think it’s better to leave it to everyone to come and experience it by themselves.


水野亮 Ryo MIZUNO

Ryo Mizuno (b.1970)

Although Mizuno did not major in art, he loves painting and has never given up his art. While working at a Japanese game company, I devoted myself to his favorite painting after work every day. Since 2001, Ryo Mizuno’s group exhibitions and solo exhibitions have been held in many galleries and art museums in Japan, and he has won many painting awards (Contemporary Art Okamoto Taro Memorial Award, Philip Morris K.K Art Award, Tokyo Wonder Wall Award, Shell Art Award).
Mizuno created countless mysterious creatures with pencils and ink pens, these creatures seem to flow naturally from his hands. The speedy images are so smooth that exceed the viewers’ imagination as if they can feel the tone of the picture gradually darkening. The viewer is forced to use all his senses to capture the details that emerge from the deep darkness. The artist maintains a calmness towards the real world, but in another parallel space like a dream, he is full of fantastic imagination, where he is God, who dominates the bodies, emotions, thoughts, and energy of these flourished creatures.
In addition, Mizuno completed 1000 “Funny Dolls” through nearly three years of hard work, with the characteristics of the Japanese manga “Kimokawa (a bit disgusting and a bit cute)”.
The facial features of Funny Dolls, the big heads have been parodied and played to the extreme, and each living individual is fresh and full of personality. The artist sets the birth time of Funny Dolls in the post-80s generation, and the work fully interprets the youthful memories of the post-80s generation, fragility, loneliness, confusion, homebody, parody, unconventionality, all the dreams that children have, and the growth stories they experience

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Emi UCHIDA (b.1970)

Emi Uchida’s abstract works are infnitely extending as a whole. But on closer inspection, they revealed a dense interplay of charcoal paintinged lines suggestive of a network.The impression conveyed by the painted surfaces was of space exploding into infnity. Here were the neural networks of the human body connecting with the unbounded expanses of the universe and transporting with them the viewer. The familiar segued spectacularly into the ineffable.
At the same time, Emi Uchida is also engaged in printmaking. She draws nourishment from the “Shunga” of the Edo period, using lines and collages to deal with taboos and explicitness, concealment and revealing, and endow tradition with new interpretation and vitality.
Her works have been exhibited in Japan, China, Taiwan (China), the United States, Europe, Turkey, Singapore, and other places. Some important solo exhibitions were held in 2016 at the Taipei 101 Tower Art Museum (Taiwan, China), in 2018 at the Miura Art Museum (Ehime, Japan), in 2018 at the Kaohsiung City Government Cultural Bureau/Taiwan Cultural Center (Taiwan, China), and in 2020 at the Setouchi Art Museum (Okayama, Japan) and other institutions.

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SHIRIAGARI Kotobuki (b.1958)

Kotobuki Shiriagari was born in 1958 in Shizuoka City, Japan. After graduating from Tama Art University with a major in Graphic Design in 1981, Shiriagari joined Kirin Brewery Company, Ltd. and worked on packaging design and advertisements.
In 1985, he debuted as a cartoonist with the book Ereki na Haru, receiving attention as a new type of gag cartoonist whose humor centers on parody.
Working independently since 1994, Kotobuki Shiriagari continues to release fantasy and literary series works and other works in a wide range of genres, including satirical four-panel comic strips for newspapers and long-form narrative manga, as well as underground manga. While continuing to release original work, in recent years he has expanded beyond manga into a variety of media, including video and art.