For those who wish to purchase the works in the PART3 of the exhibition
Information is posted HERE. (2020.7.1)
The lottery for the PART3 has ended and only the winner will be contacted. If you do not receive an email, you will not be selected. Thank you for your understanding.

PART1: June 4 to June 13
Canvas paintings and Drawings

PART:2 June 18 to June 27
Canvas paintings and Drawings

PART3: July 2 to July 11
Wooden sculptures, Silkscreen prints (New works)

NEW!!
PART4: July 13 to July 22
Drawing works before 2019
The venue is not in Aoyama, but in Ginza. please be careful not to go to the wrong place.
Venue: AKIO NAGASAWA GALLERY GINZA viewing room
Ginsho bldg.6F, 4-9-5 Ginza, Chuou-ku, Tokyo
Open Hours: 11:00-19:00
Closed: Saturday, Sunday, National Holidays

– Artist's statement
I am a B-boy sculptor. My work revolves around B-boy sculptures created by combining such elements as body movement, space and gravity.

For every sculpture that I make, I draw a lot of sketches first. These sketches gradually unfurl according to my ideas that take shape in the process regarding what exactly I want to create. Once I have decided on what the work should ultimately look like, the next step is to take that image and look at it from various angles in my mind, and draw more sketches to elaborate the final shape. Drawing these “plans” is also the stage at which I determine all spatial positional relations of the body, based on my vision of the final piece as an independently working sculpture. I then take my time to carefully carve the sculpture out of a piece of wood, while referencing the plans I have in front of me.

This exhibition focuses mainly on drawings. Among the drawings that I make, there are some that serve as plans for sculptures as described above, and others that are based on those, but have developed rather freely and independently from there as two-dimensional works.
Most of the items on display here were made as independent drawings in their own right.

These drawings represent in several ways the opposite of sculpted works. The biggest and most basic difference is that of dimensions, as these are drawings on two-dimensional surfaces, as opposed to three-dimensional sculptures.
The second one is that, different from making wooden sculptures, where the emphasis is also on the creative process from determining an image to accurately translating that image into a three-dimensional object, here the drawings are created in an offhand manner and without a fixed final image in mind. The emphasis is on such things as impetus and momentum, whereas it is only at the very end that the final appearance crystallizes. I have no fixed rules regarding materials, and just let my imagination fly as I draw in response to the shapes and positions of the paint that I put on the canvas.
I am creating these kinds of drawings with a conscious awareness of them marking the polar opposite of sculptures, both in a physical and a conceptual sense.

Some aspects in the creation process of these drawings apply also to the creation of wooden sculptures.
One element that comes into play is gravity, as I begin by applying fixed amounts of paint onto the medium that I have set up on the floor. I then use a spatula rather than a brush to distribute the paint across the canvas, until there is no paint left to work with.
Determining the amount of paint in each case is equivalent to the act of carving a sculpture out of the limited available material that is a piece of wood.
While representing the opposite of the concept and style of sculpting, these drawings are made by borrowing techniques from the art of sculpting.
They are two-dimensional works created by a sculptor.