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Backstage

March 2026

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I'm currently working on a new byobu, commissioned for Tokyo National Museum. It's scheduled to be displayed in the entrance hall of the Horyuji Treasure Hall. There are not much documentation left about the colors during the Horyuji period; known as the Asuka period. I'm looking into various researches to imagine the colors of that time.

I'm currently working on a new byobu, commissioned for Tokyo National Museum. It's scheduled to be displayed in the entrance hall of the Horyuji Treasure Hall. There are not much documentation left about the colors during the Horyuji period; known as the Asuka period. I'm looking into various researches to imagine the colors of that time.

During the Asuka period, many cultural artifacts were brought back to Japan by Japanese envoys to the Sui Dynasty. Among them, I noticed a very strong influence from the Sasanian Persian Empire, which was a leading power in the world at the time. Another clue, which Mr.Yoichi Inoue, the director of the Nara National Museum, has mentioned to me is the Tamamushi Shrine.

During the Asuka period, many cultural artifacts were brought back to Japan by Japanese envoys to the Sui Dynasty. Among them, I noticed a very strong influence from the Sasanian Persian Empire, which was a leading power in the world at the time. Another clue, which Mr.Yoichi Inoue, the director of the Nara National Museum, has mentioned to me is the Tamamushi Shrine.

At the same time,  I have begun working on a pair of six-panel byobu. These are scheduled to premiere at the Sagawa Art Museum on July 1st. I consulted with Mr. Kuriwada, Chairman of Sagawa Holdings and Director of the Sagawa Art Museum. The museum already houses many of my recent works that uses colors.  This will be a new addition to those collection. 

At the same time,  I have begun working on a pair of six-panel byobu. These are scheduled to premiere at the Sagawa Art Museum on July 1st. I consulted with Mr. Kuriwada, Chairman of Sagawa Holdings and Director of the Sagawa Art Museum. The museum already houses many of my recent works that uses colors.  This will be a new addition to those collection. 

Due to heavy snowfall in New York, I am sometimes unable to visit my studio. Consequently, I will work from home to catch up on my essay and writing. Currently, I am writing the draft for a magazine, Gekkan Bijutsu, regarding the upcoming Shimomura Kanzan exhibition, which opens on March 17 at the National Museum of Modern Art, Tokyo. It is my belief that the framework for non-Western modernism was established during the Meiji era—specifically by Kanzan and his contemporary, Takeuchi Seiho—and that this foundation ultimately paved the way for contemporary Japanese painting.

Due to heavy snowfall in New York, I am sometimes unable to visit my studio. Consequently, I will work from home to catch up on my essay and writing. Currently, I am writing the draft for a magazine, Gekkan Bijutsu, regarding the upcoming Shimomura Kanzan exhibition, which opens on March 17 at the National Museum of Modern Art, Tokyo. It is my belief that the framework for non-Western modernism was established during the Meiji era—specifically by Kanzan and his contemporary, Takeuchi Seiho—and that this foundation ultimately paved the way for contemporary Japanese painting.

I'm currently working on a new byobu, commissioned for Tokyo National Museum. It's scheduled to be displayed in the entrance hall of the Horyuji Treasure Hall. There are not much documentation left about the colors during the Horyuji period; known as the Asuka period. I'm looking into various researches to imagine the colors of that time.
During the Asuka period, many cultural artifacts were brought back to Japan by Japanese envoys to the Sui Dynasty. Among them, I noticed a very strong influence from the Sasanian Persian Empire, which was a leading power in the world at the time. Another clue, which Mr.Yoichi Inoue, the director of the Nara National Museum, has mentioned to me is the Tamamushi Shrine.
At the same time,  I have begun working on a pair of six-panel byobu. These are scheduled to premiere at the Sagawa Art Museum on July 1st. I consulted with Mr. Kuriwada, Chairman of Sagawa Holdings and Director of the Sagawa Art Museum. The museum already houses many of my recent works that uses colors.  This will be a new addition to those collection. 
Due to heavy snowfall in New York, I am sometimes unable to visit my studio. Consequently, I will work from home to catch up on my essay and writing. Currently, I am writing the draft for a magazine, Gekkan Bijutsu, regarding the upcoming Shimomura Kanzan exhibition, which opens on March 17 at the National Museum of Modern Art, Tokyo. It is my belief that the framework for non-Western modernism was established during the Meiji era—specifically by Kanzan and his contemporary, Takeuchi Seiho—and that this foundation ultimately paved the way for contemporary Japanese painting.