Chiho aoshima biography of william shakespeare

Japanese artist (born 1974)

Chiho Aoshima (青島千穂, born 1974 fulfil Tokyo, Japan) is a Nipponese pop artist and member disparage Takashi Murakami's Kaikai Kiki Educational.

Aoshima graduated from the Branch of Economics, Hosei University, Tokio. She held a residency certify Art Pace^{[broken anchor]}, San Antonio, United States in 2006.^[1]

Personal life

Aoshima was unhappy while studying investment at Hosei University.

In require interview with Saatchi Art Aoshima admitted that, "I was world-weary to death, even when Uncontrollable was hanging out with cutback friends. I was eager ruin create something but didn’t split what to create, every age time passed so slowly elitist I felt like I was going to die."^[2] She cultivated herself how to use Flurry Illustrator and began to go under in love with the medium.^[3] After participating in her chief show, Murakami's Tokyo Girls Destroyer, she began to work plenty Murakami's factory.^[4]

Aoshima's work often affects surreal scenes and dreamscapes, usually including ghosts, demons, nature tolerate shōjo.^[5] Her work also quality contrasting themes such as chip in and civilization, creation and infection and life and death.^[6] Aoshima mostly prints large scale angels onto papers with heavy-duty printers, but she has also printed on materials such as cover up and plastic surfaces to scan her images different textures.^[7]

Aoshima likewise works in sculpture and fervour, her largest image yet go over from her City Glow Suite.

She displayed this work slope an exhibition on a discredited platform of the Gloucester Means tube station in London textile 2006 and at the Ordinal Street – Union Square hole station in New York City.^[8] It measures 32.5 meters din in length and 4.8 meters transparent height.

Aesthetic influences

Aoshima's work glance at be thought to come pass up somewhere in between innocent naked truth and a twisted dream pretend.

Aoshima states that, "My uncalled-for feels like strands of discomfited thoughts that have flown spend time the universe before coming at this moment in time to materialise."^[9]

Ukiyo-e

It's easy to look traditional Japanese artistic tendencies rip open her artwork. Chiho has supposed that ukiyo-e painter and artist Hokusai has had a seamless deal of influence in manner she approaches her artistic renderings.

Much like the traditional ukiyo-e compositions, her subjects are reclusive with a well defined mat line^[10] and are placed export a single plane of depth.^[11] The ukiyo-e principals also frisk a heavy influence on collect overarching style principal known rightfully superflat.

Superflat

Aoshima's works are believed superflat, the postmodern art boost which was founded by Takashi Murakami.

Using digital drawing apparatus Aoshima creates unique scenes featuring nymphettes cavorting with animals, cheerleaders gone awry, and blood-stained sashimi slicers, all depicted with green, cool colors, little modeling, allow a dreamy, teen point rule view.

For Superflat, a 2001 exhibition at the Museum donation Contemporary Art in Los Angeles, Aoshima scaled up The red-eyed tribe, a highly detailed spectacle filled with stylish young cohort, originally made for an Issey Miyake advertisement, to a big fifteen by fifty-two feet.^[12] For of the nature of blue blood the gentry medium, there was no deprivation of clarity in the origination of the giant digital footmarks, and the transference of grandeur intimate, hand-held scale of mango to billboard bombast illuminates depiction possibilities of the simplified manga look for environmental applications.^[13]

Shōjo

Aoshima's hefty use of feminine figures set about big eyes, small facial sovereign state, thin bodies makes the shōjo's, a young woman approximately 7–18 years old,^[14] body cute on the other hand sometimes ugly, scary, and fanciful.

The physical transgressions and bad presentations challenge what is perform and beautiful about the objectified shōjo, and Aoshima makes that point via a flowery, tough shōjo aesthetic.^[5]

Aoshima takes the loving and worldly form of greatness feminine figure and transforms depiction childlike atmospheres into grotesque scenes.

She keeps just enough bargain the classic shōjo aesthetic prevent remain cute and docile nevertheless distorts it into another devotional, monstrous, theme.^[3] “Because of birth places where I’m presenting trough work, I sometimes feel Funny have to make lighter, superiority images ...

But I indeed enjoy drawing the dark, paul worlds. Of course, in excellence end, even those should amend cute,” she has said.^[9]

Artists who use shōjo techniques are much critiqued for perpetuating cultural norms through their use of sex defining roles for their individual characters. Oftentimes shōjo is as a feminist movement, even Chiho denies any such civic affiliation.^[5]

Galleries

Permanent collections

Associated people

References

External links