4-9-15, Nishitenma, Kita-ku, Osaka,

Japan, 530-0047

T/F  +81 (0)6 6364 0775
E-mail info@yodgallery.com
Open: 12:00-19:00
Closed: Sunday, Monday,Tuesday




TOP CURRENT FUTURE PAST ARTIST ACCESS
Past Exhibitions

Hiroshi Shinno solo exhibition "Laboratory of Nature" 18th Feburary- 8th March, 2014

□ TAKI HIROKO solo exhibition "Hard to tear myself away" 5th - 26th April, 2014


□ Eikoh Hosoe solo exhibitoin "Barakei: Ordeal by Roses" 31 May - 28 June, 2014

□ Ryo&Yuko Sekino exhibition "filter" 5th July - 9th August, 2014

□ "Brushes & Smudges" ‐Messages from Brushmark and materials‐27th Sep - 18th Oct, 2014

□ Natsuki Machida solo exhibition "Flowers and eyebrow" 8th - 29th Nov, 2014

□ Masashi Hattori solo exhibition "□=△=○" 6th - 26th Dec, 2014



       Past Exhibitions in 2016 >>>>>

       Past Exhibitions in 2015 >>>>>



       Past Exhibitions in 2013 >>>>>

       Past Exhibitions in 2012 >>>>>

       Past Exhibitions in 2011 >>>>>

       Past Exhibitions in 2010 >>>>>

       Past Exhibitions in 2009 >>>>>

       Past Exhibitions in 2008 >>>>>











Hiroshi Shinno

□ "Laboratory of Nature"

18th February - 8th April

□ Venue

YOD Gallery

4-9-15, Nishitenma, Kita-ku, Osaka, Japan 530-0047

TEL +81 (0)6 6364 0717

URL: http://www.yodgallery.com


Open: 12:00-19:00

Closed: Sunday, Monday and public holiday



□ Exhibition Outline

YOD Gallery is delighted to present "Hiroshi Shinno: Laboratory of Nature." This is the latest body of work in Shinno's series of Ikimono (life) sculptures. This marks Shinno's second exhibition with the gallery and an important departure from the style of presentation which he focuses on individuality of creatures.

As he is introduced in the first solo exhibition, Shinnno uses materials from nature which he picked one by one from the location where he resides. Recently, he moved his studio from the residential area to the countryside, near the border between Kyoto and Nara prefecture. The new works in this exhibition are greatly influenced by this change of environment. The selected pieces of nature,such as flowers, plants, seeds and leaves, are carefully cast using synthetic resin. Shinno constructs his sculptures with these small parts in order to embody his imagination in the form of Ikimono creatures. One could say they are the embodiment of the real-world and fantasy by virtue of the unworldly beauty and precise craftsmanship in the artwork.

The form of Ikimono has further developed from a single beetle-like creature to a collective entity of miniscule lives, titled the cluster of life, which is becoming more abstract form, harder to identify with animals in the real-world. The experience of looking at a number of clusters flating in the air is more like seening living cells under a microscope. Shinno's relationship with nature goes back to his childhood and it is the source of his creativity. Motivated by the deep understanding of man's involvement with nature, his work seems to have developed further in the direction of trying to capture the nucleus of life.

The title of the exhibition, "Laboratory of Nature", represents his love for nature and the laboratory, a space in which his creations are seen. This exhibition promises to show the potential of this talented young artist.





□ Images
(Top)
Hiroshi Shinno
The cluster of life
14 x 14 x 14cm

(Middle)
Hiroshi Shinno
2013.2.20, Daikanyama
Synthetic resin, acrylic


(Down)
Hiroshi Shinno
2012.3.18, Kyoto
Synthetic resin, acrylic
Size 3.6 x 2.7 x 3 m (Installation )























































TAKI HIROKO

□ "Hard to tear myself away"

5th - 26th April


□ Venue

YOD Gallery

4-9-15, Nishitenma, Kita-ku, Osaka, Japan 530-0047

TEL +81 (0)6 6364 0717

URL: http://www.yodgallery.com


Open: 12:00-19:00

Closed: Sunday, Monday and public holiday


□ Exhibition Outline

YOD Gallery is delighted to announce "Hard to tear myself away", a solo exhibition by TAKI HIROKO featuring two new performances, workshops, photography and sculptural works.

Exposing herself in the eyes of public, her physically demanding performances are the representation of quest to search for her own identity. This exhibition will have rare opportunities for the viewers to be involved in the artist's creative process. One is by being in the space where artist performs and second is by experiencing the workshop with the artist. She says that the act of looking inward herself results to effects others, and that effect will get sent back to me as reactions to it. The performance, namely the act of search for her own identity, involves viewers by her artwork being exposed and viewers results to be the part of artwork.

Although the subject of this exhibition, her hair, is previously used subject matter, but her take on it is different this time. She has chosen the idea that hair as remains of the past, such as something her ancestors had left or represents spiritual existence. In Japanese, "hard to tear myself away" from the previous events is phrased with the word, hair, "Ushirogami Hikareru; to have one's hair pulled from behind".

Her work is not only limited to the performance, but also extends to photography and other medium. However, the most signifying work so far is in performance and seeing Kazuo Shiraga's action painting has been the catalyst. Her work also has been influenced by Norio Imai, Gutai artist, who was her tutor in the past. Yet, her purpose to chose performance as medium of expression is to represent the most actual form of being, namely, the physique as a core subject of the work, not to represent emotion or motion which is delivered by the perfomance. Her body being so out fronted in her works, often thought that the subject is insecurity toward her own body. However, her works are the positive take on her own physique, which she discovers in the process of making. You can see and experience such her discovery from the joy and amuse of her freely expressed artworks.




□ Images
(From top)

Title:Hard to tear myself away
Year: 2014


Title:ICHORA (One's Sunday best)
Year: 2013
Size: 500×150 cm, (Depth variable)
Medium: Stretch fabric (Red ), Rope, Stainless grommet, Body


Title:sanzui
Year: 2013
Size: 200x200cm
Medium: cloth inkjetprint , suede


Title:LipOn
Year: 2011
Medium: Video (3 min.)










































Eikoh Hosoe

"Barakei: Ordeal by Rose"

31 May - 28 June 2014

□ Venue

YOD Gallery

4-9-15, Nishitenma, Kita-ku, Osaka, Japan 530-0047

TEL +81 (0)6 6364 0717

URL: http://www.yodgallery.com


Open: 12:00-19:00

Closed: Sunday, Monday and public holiday


□ Exhibition Outline

YOD Gallery is delighted to announce, Barakei: Ordeal by Roses, a solo exhibition by Eikoh Hosoe.

Hosoe was born in Yonezawa, Yamagata in 1933 and grew up in Tokyo. The catalyst for being a photographer was winning the top prise in a photo competition run by Fujifilm in the student category. He became a free-lance photographer after training at Tokyo College of Photography since 1952. During that time, he had deepen exchange with Ei-Q who was one of the host of Democratic Artists Association and influenced by the artist's spirit to challenge the preconceived ideas.
The golden days of Realism movement in photography after the world war II, the new artistic representation was demanded through the trend of high economic growth period. He co-founded the "VIVO" group together with Kikuji Kawada, Akira Sato, Akira Tanno, Shomei Tomatsu, Ikko Narahara and others seeking to promote concepts of modern photography and "new subjectivity".

In 1960, Eikoh Hosoe produced a photographic documentary of the Butoh dancer Tatsumi Hijikata, called Man and Women (Otoko to Onna), which was awarded New Artist Award from the Japan Photo Critics Association. With Yukio Mishima as a model, he created a series of dark, erotic images centered on the nude male body, Barakei: Ordeal by Roses. This collection of photographs containing masochistic representation was thought as an unprecedented book, one might say modern curiosa, which certainly created sensation within Japan as well as overseas. For this challenging work, he had won the Japan Photo Critics Association Award in 1963. Hosoe had created Kamaitachi in 1969, well-known for Hijikata being a model and a series of images that reference stories of a supernatural being — "sickle-toothed weasel" — that haunted the Japanese countryside, like Hosoe's childhood. He continuously created masterpieces since then and being active as a pioneer of photographic representation.

He also has history of contribution in educational and outreach works. He had returned to Tokyo College of Photography as a teacher and held several workshops in overseas while he was working as a professional photographer. Such contributions in cultural sector had recognition from Japanese government and he had received the Minister of Education Award for Fine Arts in 1970, Medal with Purple Ribbon in 1998, The Order of the Rising Sun, Gold Rays with Rosette in 2007 and being selected as Person of Cultural Merit in 2010.

In this exhibition, we focus on Barakei: Ordeal by Roses, which is one of the most important works in Hosoe's career. The shooting for Barakei series were about 10 sessions and took about half a year, started from September 1961 until next spring of 1962. Photographs were shot in several locations. For instance, Hijikata's studio in Meguro, Ruins of factory in Kameido, a construction site where Aoyama church once stood and Mishima's residence in Minamimagome, etc. Models were not only Mishima, but also Hijikata and an actoress Kyoko Enami. There is an episode that Mishima had told his wife, Yoko and daughter, Noriko, two years old back then, to visit Yoko's parents home while shooting was taken place at Mishima's residence as it was "not educationally good".

On 25th March 1963, Barakei was published with the cover design by Kouhei Sugiura from Shueisha Inc.. Mishima would follow his ideal and eventually committed suicide by seppuku in 1970, which is the case of Mishima. After this, in 1971, new edition of Barakei was published with Mishima's prologue and cover design by Tadanori Yokoo. Another edition of this book, cover design by Kiyoshi Awazu was published in 1984. Andrew Roth, a well-known influential figure and art book publisher in NY, had chosen Barakei in "The Book of 101 Books: Seminal Photographic Books of the Twentieth Century".

Much long-awaited anticipation, after half a century past since the first edition was published, this series of photography, Barakei: Ordeal by Roses are exhibited here in Osaka for the first time, exposing rich cultural and historical reference of the time. The valuable vintage prints and modern prints from the series, moreover, prints which were not previously published are shown in this exhibition. We will have rare opportunity of having a talk by Mr.Hosoe himself hosted by professor Nobuhiko Baba of Konan Women's university. This event will take place at our gallery in Osaka, hoping to hear more about episodes related to Barakei and the era the book was published.


□ Eikoh Hosoe profile
1933 Born in Yonezawa, Yamagata
1954 Graduated Tokyo College of Photography

1960 New Artist Award from the Japan Photo Critics Association
1963 the Japan Photo Critics Association Award
1970 the Minister of Education Award for Fine Arts
1998 Medal with Purple Ribbon
2003 The Royal Photographic Society's Special 150th Anniversary Medal and Honorary Fellowship (HonFRPS)
2006 Visionary-Presenter TBA, The Licie awards (U.S.)
2007 The Order of the Rising Sun, Gold Rays with Rosette
2008 The Mainichi Art Award
2009 The year's master photographer at the Lucca Digital Photo Fest (Italy)
2010 the Medal of Honor for Lifetime Achievement in Photography by the National Arts Club (U.S.)
2010 Person of Cultural Merit


□ Images
(From top)

Barakei: Ordeal by Roses #32, 1961

Gelatin silver print, 27.9× 35.5cm

Barakei: Ordeal by Roses #41, 1961

Gelatin silver print, 27.9× 35.5cm

Barakei: Ordeal by Roses #43, 1961
Gelatin silver print, 27.9× 35.5cm









































Ryo & Yuko Sekino"filter"

5th July - 9th August 2014


□ Venue

YOD Gallery

4-9-15, Nishitenma, Kita-ku, Osaka, Japan 530-0047

TEL +81 (0)6 6364 0717

URL: http://www.yodgallery.com


Open: 12:00-19:00

Closed: Thu.31.July, Sunday, Monday and public holiday


□ Exhibition Outline

YOD Gallery is delighted to present, filter, an exhibition by Ryo and Yuko Sekino.
They had established their studio, SOTRE GLASS, in 2012 at Fukusumi, Sasayama city, Hyogo prefecture.

Ryo was born in 1978, Osaka , started his study of glass production since he was at Osaka Designer's College. His career begins with working for a glass manufactutre SATAKE GLASS CO., LTD. as an assistant. After that, having met Tsuyoshi Tsujino, who runs glass blowing studio called 'fresco', he gained skills under Tsujino's direction. This became the foundation for his future career as an independent artist. After Ryo had exprecienced many workshops and traveled overseas, he had been hired as a part-time junior technician, then, promoted to full-time for the glass course at the craft department at Osaka University of Arts. With such rich experience in craftsmanship, he began his career as an independent artist since 2010. The series called "Goblets" reminds us of drinking vessel with legs from early modern periods, such as Venetian Glass. The series consist of several different techniques of blown glass and prised for display of highly skilled craftmanship. The work have influence of Japanese sake cups and playful fun elements of such crafts are acclaimed as original and cutting-edge.

Yuko was born in 1985, Osaka, graduated from glass course at Osaka University of Arts in 2008. After working for the glass blowing studio, 'fresco', as an assistant, she had traveled to the states and deepen the knowledge of the crafts. Currently, she is also working as an independent artist. The name of their studio, SORTE, has meanings like, luck and future in Italian and location of their workshop is called Fukusumi, meaning blessed town in Japanese. Their works reflects such blessing from their environments and people associated.

In this exhibition, artworks are created by two independent artists, Ryo and Yuko, which are consist of three parts. First, titled 'filter of light', focusing on transparency of glass as material. Water contained in the glass bowls create shining light, enhancing transparency of glass and reflection on the gallery floor represents hopes and subtly waving water surface represents nature. Second, titled 'filter of oneself', reflecting one's own images in the artwork which challenges the mind of the viewer to reflect back into your own thought and tries to draw attention to themselves. Third is titled 'filter of time', representing present time, one could say a moment, by means of half of sand clock containing broken glass pieces and drop of sand from the container above, in this case, glass pieces are spread on the gallery floor. There are clocks hanged on the gallery wall surrounding this broken glasses. Their movements are hard to see as they are hidden by the translucent glass bulbs. This gives out the viewer the feeling of uncanniness as if time is captured in the bulb since the comparison to the reality of outside world with time constantly running.Through those three 'filters', artists, Ryo and Yuko Sekino created artworks which contain time and space, and apparatus to reflect oneself from the past to the future in order for the viewer to experience the moment of finding happiness and time to think about ones own future.






□ Images
(From top)

Ryo Sekino,'filter', 2014, Glass ( Glassblowing)

Ryo Sekino, 'Goblets', 2013, Glass ( Glassblowing)

Ryo Sekino, filter 'Space-time', 2014, Glass ( Glassblowing), φ130mm

Yuko Sekino, filter, 'filter of light', 2014, Glass ( Glassblowing), φ300㎜×150㎜





































Tomoko Takagi/Marina Kanamori/Yasuhiro Hara

"Brushes & Smudges -Messages from brushmark and materials-"

27th Sep - 18th Oct


□ Venue

YOD Gallery

4-9-15, Nishitenma, Kita-ku, Osaka, Japan 530-0047

TEL +81 (0)6 6364 0717

URL: http://www.yodgallery.com


Open: 12:00-19:00

Closed: Sunday, Monday and public holiday







□ Exhibition Outline

YOD Gallery is delighted to present a group exhibition "Brushes & Smudges -Messages from brushmark and materials-". In this exhibition, we are introducing three artists, Tomoko Takagi, Marina Kanamori, Yasuhiro Hara, whose artworks use different degrees of abstraction. As a result of being away from realistic description of subject, like as one can see in the traditional figurative paintings, artists focuse on the manipulation of materials and created unique ways of representing their own subjects.

Understanding of materials through the manipulation led them to more sophisticated ways of describing their own images of outside world. Some are poetic, some are even more faced with materials and composition within the canvas. Such search for their own visual language are for viewers, it is the journey to understand what they see in front of them. In this group exhibition, we will let viewers to experience the various journies artists took in order to realise their own images of the world they see.



□Images
(from top)
1. Tomoko TAKAGI, Tanuki01, Oil, Staining on cotton cloth, 50×65cm

2. Marina KANAMORI, Vanishing girl, Mixed media, 37×40cm


3. Yasuhiro HARA, Crossing Sea Blue, Acrylic on canvas






















Natsuki Machida solo exhibition "Flowers and eyebrow"

8th - 29th Nov 2014




□ 
Venue

  YOD Gallery

   4-9-15, Nishitenma, Kita-ku, Osaka, Japan 530-0047

  TEL +81 (0)6 6364 0717

  URL: http://www.yodgallery.com


Open: 12:00-19:00

             Closed: Sunday, Monday and public holiday



Exhibition Outline
  YOD Gallery will host a solo exhibition, "Flowers and eyebrow" by Natsuki Machida. This will be for the first time in 5 years since she had exhibition with us. We are delighted to see both her new challenges and already established characteristics of her pictorial style in this exhibition.

 The surface of paintings are filled to the brim with flowers, which are classic motif in Machida's artworks. For Machida, choosing flowers as a motif is not simple like pick up decorative patterns, but more complex personal choice. She delivers those flowers as means to carry out her internal energy to be exposed to the outside world. Flowers are painted as if it is still growing, eating away artist's energy during the process of creation. Those growing flowers let viewers experience the compelling visualisation of her creative energy.

 Another characteristic of Machida's artworks are choice of colours which are highly saturated. She often uses pink with high saturation as a base colour for her painting, which one tends to think of sweetness or associate with girly images, namely, Kawaii. The definition of Kawaii, according to Wikipedia is "lovable, cute, or adorable, the quality of cuteness in the context of Japanese culture." In this context, Machida's artworks are easily thought that purpose of painting is to represent such lovable images. However, when you look into details, sweetness is exaggerated and overdramatised by the intense coloration and densely placed motifs. Such elements are creating almost scary overwhelming feel which seems to show slightly twisted view of lovable sweetness, perhaps creating darkness in her work despite of the bright overall look. The energy of saturated colours approaching the viewers are as if it is an explosion of her feminine self triggered by some stimulation from the outside world. The ornate nature of her works are influenced by seeing Takarazuka Revue, which are based in Machida's home town, in her childhood, reading dreamy comics for girls, Sho jo manga and lavish Yuzen-kimono. Thse are always firing her imagination and reference can be seen in her paintings.

 We already mentioned flowers, but not eyebrow, which is the other part of exhibition title. It appears for the first time in Machid's artworks although she has been painting faces for long time. For Machida, this was a change. She says "Eyebrow always expresses the feeling or thought of figures I paint and I didn't wanted them to be seen as they have such things." She wanted to avoid the viewers to imagine thoughts behind the painting through faces of figures and let them to be free from simple interpretation. However, in this exhibition, she had drawn series of portraits, off course, with eyebrow. This initiates her change in attitude toward what she wants to represent in her artworks. She became more active to suggest her thoughts in the artwork. The medium she chose for this series is pastel, acrylic paint and paper, which are more suitable method to draw intuitively or to capture instantaneous images. Again, the exaggeration is apparent and that can be seen not only in the colouring, but also in the extremely enlarged eyes and shining stars in them. Those faces intensely gases at viewers and the intensity of images remind us of hysteria. One might say Machida had opened her mind to the viewers via artworks.

 Seemingly Kawaii paintings are actually filled to the brim with extraordinary energy of the artist, Machida. They invites you in with pretty appearance and show you slightly distorted world from the author Machid's point of view.


□  Natsuki Machida Biography
1980 Born in Hyogo, Japan
2005 Graduated from Osaka University of Arts Graduate School

[Solo Exhibitions]
2007 Natsuki Machida Exhibition, Gallery Ami, Osaka
2008 Impulse of Virgin, YOD Gallery, Osaka
2009 MURMUR, YOD Gallery, Osaka

[Group Exhibitions]
2003 Art Stage 74, Osaka University of Arts
    Art Camp in CASO, CASO, OSAKA
2004 Art Jam 2004, The Museum of Kyoto
    Link, Kyoto Municipal Museum of Art
    Imaginary Museum, Kyoto OPA
2005 Art Jam 2005, The Museum of Kyoto
    Designed T-shirts for the apparel company “alcali”
2006 Group exhibition, Imura Art Gallery, Kyoto
    Group exhibition, THE GALLERY, Hyogo
    Illustration for 10th anniversary advertisement of the apparel company "VIS"
2007 ART SALAD, SOHO Art Gallery, Osaka
2008 ART OSAKA 2008 (YOD Gallery), Dojima Hotel, Osaka
    DAEGU ART FAIR (YOD Gallery), Daegu, Korea
2009 Emotional Colors, Bunkamura Gallery, Tokyo
    ART OSAKA 2009 (YOD Gallery), Dojima Hotel, Osaka
    KOBE ART MARCHE 2009 (YOD Gallery), Crowne Plaza Kobe, Hyogo
2010 ART FAIR KYOTO (YOD Gallery), Hotel Moterey Kyoto, Kyoto
    ART OSAKA 2010 (YOD Gallery), Dojima Hotel, Osaka
    Art Gwangju 2010(YOD Gallery), KDJ Convention Center, Korea
2011 Group exhibition, "Three women, three leaves", YOD Gallery, Osaka
2014 Affordable Art Fair HongKong 2014(YOD Gallery) , Hong Kong Convention and         Exhibition Centre, Hong Kong
    Young Art Taipei 2014, (YOD Gallery), Regent Taipei, Taipei

□  Images (from top)
1. "Flowers 1", 2014, 100x80.3cm, oil on canvas

2. "Eyebrow 1", 2014 ,100x80.3cm, acrylic on paper panel


3. "Dots", 2014, 33.4x24.3cm, acrylic on paper






















































Masashi Hattori solo exhibition "□=△=○"

6th - 26th Dec 2014

□ 
Venue

  YOD Gallery

   4-9-15, Nishitenma, Kita-ku, Osaka, Japan 530-0047

  TEL +81 (0)6 6364 0717

  URL: http://www.yodgallery.com


Open: 12:00-19:00

             Closed: Sunday, Monday and public holiday



Exhibition Outline
  YOD Gallery is delighted to present "Masashi Hattori:□ =△=◯". This solo exhibition includes a video work, recorded in this March at our gallery space. In that, Hattori tries to manipulate newspaper cuts in order to make shape of a ball by stcking them together with diluted white glue. The end product is also exhibited in the gallery space.
 
  Hattori had collected newspaper everyday for a year. He piled them up and took a photo. This is represented as a square, □, in the title. After that, he cuts out the newspaper into a shape of human. Then again, piled up and took a photo, which is represented as a triangle, △, in the title. Those photos were presented as a photographic image at his previous exhibition "Now ◯ I ◯ Past ◯ I" held last year. In this new exhibition, he had used this pile of newspaper cuts as the material used for the performance, which now we see it as a video work. The end result of the performance, a ball of newspaper, is shown in this exhibition and represented as a circle, ◯, in the title. For Hattori, such continuation is the essential motive for his creative activity. This is why the title is □ =△=◯, and the equal sign, =, between those forms signify the common material and continuation.
 
  The video work shows the action which he puts together all newspaper cuts. However, this process actually started from previous years since he was collecting them and they were presented time to time in a different medium to us. It is our saga to recognise the visible changes before actually realise what we are seeing is the same thing in a different form. Here, we can see Hattori's trick and his idea that important matter is not the form, but the content, like your own experience with his artwork.
 
  "=", equal sign, which are drawn on the outside wall of the gallery represents what is symbolic meaning for this exhibition. For instance, however the form of artwork changes there is an unchangeable fact like they are consists of newspapers collected by him. Such a simple matter, but we tend to forget and over analyse what we see nowadays. Hattori intends to put importance on simple matter like this and the equal sign represents this idea of connecting each different works and he hopes that people become aware of existence of common experience through his work, which they may not realise otherwise.


□  Masashi Hattori Biography
1977 Born in Hokkaido, live in Osaka
2003 Graduated from Kyoto Seika University Graduate School
He is a part-time art teacher of Doshisha Elementary School, Shijonawate Gakuen Junior High School, Shijonawate Gakuen Junior College, Kacho College

[Solo Exhibition]
2000 Cubic Gallery Iteza, Kyoto
2002 Kyoto Seika University Sculpture Gallery, Kyoto
2004 Shinanobashi Gallery, Osaka ('06)
2007 Gallery Artislong, Kyoto ('09)
2009 "Hito ○ Dual Personality ○ Hito", YOD Gallery, Osaka
2010 "Hand ◯ Foot", Gallery Naufu, Gifu
2011 "◯ Re ↑ Birth ◯", YOD Gallery, Osaka
         "Hito ◯ Word ◯ Hito", gallery ARTISLONG, Kyoto
2013 "Now ○ I ○ Past ○ I", YOD Gallery, Osaka

[Group Exhibition]
2002 Kunori nochi Hare, Gallery Fleur, Kyoto
         SHUCHO-TEN, Gallery Artislong, Kyoto
2005 WONDER SEEDS 2005, Tokyo Wonder Site
      Gunma Biennale for Young Artists, Museum of Modern Art Gunma
2006 SUKIMA...MA, Two Artists Exhibiton, Gallery Naufu, Gifu
2007 Naufu-saka Art Fair, Gallery Naufu ('08- '10)
2008 ART OSAKA 2008, YOD Gallery, Dojima Hotel, Osaka ('09-'10)
2010 Under 100, YOD Gallery, Osaka
         OSAKA ART NOW, Hillside Terrace, Tokyo
         YOUNG ART TAIPEI,Sunworld Dynasty, Taipei
2011 CRIA, Kyoto Art Center
         RITTAI BUTSUBUTSU Exhibition, Bunkamura Gallery, Tokyo
         5th Naufu-saka, Art Fair, Gallery Naufu, Gifu
         AHAF HK11, Mandarin Oriental, Hong Kong
         YOUNG ART TAIPEI 2011, Sunworld Dynasty Hotel, Taipei
         "cheer up !", gallery ARTISLONG, Kyoto
         ART OSAKA 2011, Hotel Granvia Osaka, Osaka
         Figure of Illusion-Japan Taiwan Exchange Exhibition, Inart Space, Tainan
2012 ART TAINAN, Tayih Landis Hotel, Tainan
         6th Naufu-saka Art Fair, Gallery Naufu, Gifu
         Taiwan, Japan, Korea Exchange exhibition, Kun Shan University, Tainan
2nd "cheer up !", gallery ARTISLONG, Kyoto
         ART OSAKA 2012, Hotel Granvia Osaka, Osaka
         jun_ch SITE #03, gallery&cafe Zoologipue, Osaka
         Future landscape, gallery ARTISLONG, Kyoto
2013 7th Naufu-saka, Art Fair, Gallery Naufu, Gifu
         Gifu and Mingei universe, Gallery Naufu, Gifu
         ART OSAKA 2013, Hotel Granvia Osaka, Osaka
2014 8th Naufu-saka, Art Fair, Gallery Naufu, Gifu
         Affordable Art Fair Brussels 2014, Tour & Taxis, Belgium
         2nd Japan-Taiwan New Generational artist exchange exhibition, gallery ARTISLONG,          Kyoto
         ART OSAKA 2014, Hotel Granvia Osaka, Osaka
         Art Expo Malaysia 2014, Matrade Exhibition & Convention Center, Malaysia
         Art Fair Sapporo 2014, Cross Hotel Sapporo, Sapporo



□  Images (from top)
1. "□=△=○", 2014, 365 sec., Video work

2. "○=○", 2013, H868×W650 mm, C-print












































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