“Meditations on a most difficult year, passed.”
"SAKURA FOR TOMORROW": MAY DEVINEY
“Blossom” is a folk art styled representation of human cooperation and helpfulness that literally combines earnest, outreaching hands in a grouping that forms a flower blossom. The blossom stretches up through the grass toward a glowing sun, seen through parting dark clouds, imagined as a rebirth into the light.
This image was built on a found antique photo in its original oval metal frame. The mother and child have haloes, and their clothing is a collage of biblical scenes of tribulation, with the clothing’s trim consisting of images from currency. A bishop in the lower corner signals the offer to exchange money for redemption.
This image is a take on a “patron saint” for the Big Apple. The “Madonna” figure carries her Starbucks and consults her phone, while her clothing is constructed from a subway map and her background is graffiti-like; her antique frame is adorned with red roses - and apples, of course.
"SAKURA FOR TOMORROW": HISAYUKI DOI
Hisayuki Doi was born in Wakayama, Japan, in 1976. Moved by 19th century French landscape painting, He started oil painting at the age of 21.
He would in time travel to France to work “en plein air=(outdoor)”in the countryside that originally inspired him. At this time, he began drawing works with CRAY-PAS(=oil pastel)that was invented drawing material from Japan.
His central theme is currently the role of the Shinto shrine as a confluence between the mythical era and the present day. Through his works tribute is paid to the deceased ancestors as well as the ongoing Shinto tradition.
He has received numerous awards, including the notable Showa Kai Award in Japan.
"SAKURA FOR TOMORROW": BERNICE FAEGENBURG
"SAKURA FOR TOMORROW": DAVID FITZGERALD
“From what I gather Sakura is about the beauty and brevity of life, which I aspire to convey in every object I make.”
"SAKURA FOR TOMORROW": WALLY GILBERT
"SAKURA FOR TOMORROW": CHRIS TUCKER HAGGERTY
“Despite physical or constructed disparities, common vision unifies.”
"SAKURA FOR TOMORROW": KAZUO ISHIKAWA
“ Enjoy your trip on a gondola in this crazy era.”
“ As a Japanese who has lived in harmony with nature since ancient times, I got inspiration from the moon. I consider it’s a symbol of oppression and liberation, as seen in the ebb and flow of the tide. It also has a significant impact on our minds and bodies.”
“When spring comes, various things start to move in the forest, and each exchange begins.”
"SAKURA FOR TOMORROW": KAT KING
"SAKURA FOR TOMORROW": K-JUNKO
Every year, happy, cheerful voices are heard under the cherry blossoms in full bloom. But last year, no joyful voice was heard under the blossoms.
And how about this year?
Sakura in full bloom lit by bonfires. The moon is quietly watching the blossoms.
Cherry blossom petals are dancing in the spring sunlight.
"SAKURA FOR TOMORROW": KOHARU
Large white panties caught my eye.
The large white panty was stretched shamelessly on a hanger, fluttering majestically from a window above, wash drying in the day’s air.
This is a shopping street in Shanghai.
“Wow, shocking!
Panties are supposed to be hidden.
Shameless, isn’t it?
Or, am I too sensitive?
Japanese public toilets are equipped with a music player that covers the sound of peeing.
Does this exist in any other country in the world?
Or, are Japanese just overly self-conscious?”
For some reason, I can’t get that panty out from my mind.
It appeared suddenly, white lace wavering in the breeze.
But as it hung over me, it began to interfere with my life long vision of roses.
KOHARU- Based in New York and Shanghai, I make prints with the theme of roses. Graduated from Tokyo University of the Arts, my production activities have been at the National Academy of Fine Arts in New York since I was 50 years old. Start with fellowship and scholarship. Invited to exhibit at the 2010 Shanghai World Expo "International Science and Art Exhibition".
"SAKURA FOR TOMORROW": NATSUI MASUDA
Born in Aichi, Japan.
Ms.Masuda deeply interested in religion and the view of life and death since her childhood. She changes the production style to oil paintings, pencil drawings, Japanese paintings, copperplate prints, etc. according to what I want to express from time to time.
Ms.Masuda started presenting her works in NY since 2017, participated in The Contest in New York, ART on Paper, etc. Many more actively participated in group exhibitions in Japan.
"SAKURA FOR TOMORROW": MEGUMI MATSUKAWA
“You can see the colors you need, it depending on the viewer.”
“It expressed the emotions that my heart is heading toward.”
“I’m crying but I wish…”
“There is a lot of hope in the lake. “
"SAKURA FOR TOMORROW": SAI MORIKAWA
"SAKURA FOR TOMORROW": VERNITA N’COGNITA
"SAKURA FOR TOMORROW": ICHIGO NOHARA
"SAKURA FOR TOMORROW": CHIKAKO NUNOME
"SAKURA FOR TOMORROW": KENICHIRO OOTSUKA
"SAKURA FOR TOMORROW": RYUGA
"SAKURA FOR TOMORROW": TOSHIAKI SHIBATA
I used a technique of "drip and polish" with acrylic paints to create a fractal form, portrayed the concrete form by making use of the fractal form, and repeated further the "drip and polish". My aim was to create a fusion of the accidental form derived from the technique and the impression of the portrait itself.
Capturing the shape in terms of surface is a tradition of Western painting since Chiaroscuro. But if the shape is taken as a "color surrounded by lines," I find it oriental. The lines I drew indicate the place where the shape changes, which are called ridgelines. By decomposing the shape into lines and colors, I am seeking a style of expression that combines an Oriental flatness with a Western three-dimensional effect.
A human figure has always been the most important theme for me. I appreciate the encounters with excellent models that have bought my artistic standard to higher level.
The best effect from the technique of "analysis and synthesis of the colored regions" is that the conflict between colors and forms creates a new image. I think that value of colors and line-weight are important when creating such works.
One answer to the question of why I use acrylic paints is apparent in this work. That is because the technique of combining transparent and opaque expressions can be performed relatively quickly.
A still life depicts immovable objects, but the rhythm and movement come out depending on how the objects are assembled and how the colors and shapes are combined. Such a contradiction is what I cherish and is the concept of the work.