Location: Japan
Takayoshi Ueda is an artist who works creating primarily digital collages in Japan.
He was born in 1969 and raised in Osaka, and began studying oil painting at art school in Kyoto.
He was deeply impressed by the expressive ability of the monochrome paint software he experienced while studying there, and began creating with a computer in 1994.
After producing fantastical digitally processed, hand colored material with a variety of painting materials from 1996-2000 called his “Digilo-graphy”, he began transitioning
into digital collages using atypically shaped plants and animals from 2008.
His current work began with the idea of presenting the illustrations he made for the characters of his children's picture book, (Silent book), in late 2007, as individual
two-dimensional works.
Further, the diversity of the plants and animals and the pleasure of the ecological system that he observed during his years of living in the forest and mountains of Wakayama
over half of the 90's, his experience of the fierceness of nature in typhoons and more, and the Buddhist philosophy of life that he ascribes to all deeply affect his work.
These teachings preach the hard to break connection between oneself and the environment, and that the heart and body are one, which are also important elements of his work.
His representative works post-2010 have won the Asia Digital Art World in the still image division, and he participated in the STRICOFF Gallery group exhibit in NY as
a finalist for the ARTBOX. PROJECT New York 1.0.
Additionally, he has applied graphic design to put a selection of his works onto apparel, etc., since 2011, and has opened an online store.
He has also received a number of awards in the design field, such as winning the GOOD DESIGN EXPO message T-shirts design contest.
He began to create several types of hand made art books in 2014, and has been proactively participating in international art book exhibits, and is currently beginning to
create a new ZINE that uses the same media that he uses in his actual works.
Ueda currently resides in Wakayama, Japan, where he has his own studio.
He draws and paints his materials there, and also has a system where he can input and output work from his computer.
It is the place from which he announces his pieces and partakes in global activities including groups exhibits and art fairs in a total of 11 countries and regions across Asia,
Europe, and North America.
I'm an artist in japan.
I’m mainly creating digital collage works.
★Please see my website for detail of my works.
https://www.gutchee.com/
★Various characters will appear in my digital artworks.
I introduce a part of it in instagram.
Please search with usernames for "takayoshi_6".
About the details of this work: https://www.gutchee.com/cw_01.htm
pigment-based inkjet print on synthetic fiber cloth, synthetic resin, wood panel
※2 piece multi panel, mounted on wood panels.
total：35×72 1/2 inches (89.4×184cm), 35×35 inches (89.4×89.4cm) each
ED --/6
“Vivid Planet - Blue Warped moon”
statement
I create digital collage pieces with the concept of making the invisible visible.
The pieces are made using randomly created materials such as drawings, and combining them with different materials, connecting them visually into a single form.
With this process, I add images from my internal world, my thoughts, and my emotions to discover fresh, new shapes that do not exist in reality, and use them all in
the atypically shaped characters that appear in my works.
The theme of my works is the dynamism of life, and the amplification of my thoughts and emotions adds story-like characteristics to the still, digital images, which
make one feel the shift to and from each scene.
Every character is based on a familiar plant or animal, while at the same time is flexible, rich in variety, and highly rigid.
Unlike the traditional spiritual and occult images of Asia or the anti-naturalist expressions of the West, the atypical forms I use have been influenced by
the Choju Jinbutsu Giga(Animal-person Caricatures of East Asia in the mid-12th century), which were drawn in between the twelfth and thirteenth centuries in Japan,
and the eighteenth century artist Jakuchu ITO (Japanese painter of the mid-Edo period, 18C), especially their comical expressions, and flat, precise depictions, with the addition
of slightly over exaggerated facial expressions and movements, which give the characters presence and compatibility with their surroundings.
I go further and aim to make images that give a different impression when seen close and seen at a distance, for a multiplex of visual nuance and impact,
by constructing the entirety of each piece like a metacollage, that combines several such characters.
Further, the forms of the plants that appear in all of my works also heal us, and at times threaten us by becoming natural disasters, and so become self-conflicting symbols.
The structural harmony of the entirety and the pieces of each piece is based on the Buddhist philosophy of life, the way that the macrocosm of the universe and
the microcosm of human existence interact, is another important element of my work.
Most of my work is output digitally onto cloth and attached to wood panels covered in white coating, which heightens the development of the color, and some are printed
onto paper or put onto acrylic mountings.
I propose a variety of flexible exhibiting styles, with some works having the proportions of traditional Eastern works such as hanging scrolls or fusuma-e, some use
a multi-panel style reminiscent of the screen layout of the vertically long fusuma-e, with images lined up one after the next, and multi-panel hybrid types, where even
one piece could be exhibited on its own.
“Vivid Planet - Flying eagle and snake”
statement
I create digital collage pieces with the concept of making the invisible visible.
The pieces are made using randomly created materials such as drawings, and combining them with different materials, connecting them visually into a single form.
With this process, I add images from my internal world, my thoughts, and my emotions to discover fresh, new shapes that do not exist in reality, and use them all in
the atypically shaped characters that appear in my works.
The theme of my works is the dynamism of life, and the amplification of my thoughts and emotions adds story-like characteristics to the still, digital images, which
make one feel the shift to and from each scene.
Every character is based on a familiar plant or animal, while at the same time is flexible, rich in variety, and highly rigid.
Unlike the traditional spiritual and occult images of Asia or the anti-naturalist expressions of the West, the atypical forms I use have been influenced by
the Choju Jinbutsu Giga(Animal-person Caricatures of East Asia in the mid-12th century), which were drawn in between the twelfth and thirteenth centuries in Japan,
and the eighteenth century artist Jakuchu ITO (Japanese painter of the mid-Edo period, 18C), especially their comical expressions, and flat, precise depictions, with the addition
of slightly over exaggerated facial expressions and movements, which give the characters presence and compatibility with their surroundings.
I go further and aim to make images that give a different impression when seen close and seen at a distance, for a multiplex of visual nuance and impact,
by constructing the entirety of each piece like a metacollage, that combines several such characters.
Further, the forms of the plants that appear in all of my works also heal us, and at times threaten us by becoming natural disasters, and so become self-conflicting symbols.
The structural harmony of the entirety and the pieces of each piece is based on the Buddhist philosophy of life, the way that the macrocosm of the universe and
the microcosm of human existence interact, is another important element of my work.
Most of my work is output digitally onto cloth and attached to wood panels covered in white coating, which heightens the development of the color, and some are printed
onto paper or put onto acrylic mountings.
I propose a variety of flexible exhibiting styles, with some works having the proportions of traditional Eastern works such as hanging scrolls or fusuma-e, some use
a multi-panel style reminiscent of the screen layout of the vertically long fusuma-e, with images lined up one after the next, and multi-panel hybrid types, where even
one piece could be exhibited on its own.
“Vivid Planet - Talk with strange flowers”
statement
I create digital collage pieces with the concept of making the invisible visible.
The pieces are made using randomly created materials such as drawings, and combining them with different materials, connecting them visually into a single form.
With this process, I add images from my internal world, my thoughts, and my emotions to discover fresh, new shapes that do not exist in reality, and use them all in
the atypically shaped characters that appear in my works.
The theme of my works is the dynamism of life, and the amplification of my thoughts and emotions adds story-like characteristics to the still, digital images, which
make one feel the shift to and from each scene.
Every character is based on a familiar plant or animal, while at the same time is flexible, rich in variety, and highly rigid.
Unlike the traditional spiritual and occult images of Asia or the anti-naturalist expressions of the West, the atypical forms I use have been influenced by
the Choju Jinbutsu Giga(Animal-person Caricatures of East Asia in the mid-12th century), which were drawn in between the twelfth and thirteenth centuries in Japan,
and the eighteenth century artist Jakuchu ITO (Japanese painter of the mid-Edo period, 18C), especially their comical expressions, and flat, precise depictions, with the addition
of slightly over exaggerated facial expressions and movements, which give the characters presence and compatibility with their surroundings.
I go further and aim to make images that give a different impression when seen close and seen at a distance, for a multiplex of visual nuance and impact,
by constructing the entirety of each piece like a metacollage, that combines several such characters.
Further, the forms of the plants that appear in all of my works also heal us, and at times threaten us by becoming natural disasters, and so become self-conflicting symbols.
The structural harmony of the entirety and the pieces of each piece is based on the Buddhist philosophy of life, the way that the macrocosm of the universe and
the microcosm of human existence interact, is another important element of my work.
Most of my work is output digitally onto cloth and attached to wood panels covered in white coating, which heightens the development of the color, and some are printed
onto paper or put onto acrylic mountings.
I propose a variety of flexible exhibiting styles, with some works having the proportions of traditional Eastern works such as hanging scrolls or fusuma-e, some use
a multi-panel style reminiscent of the screen layout of the vertically long fusuma-e, with images lined up one after the next, and multi-panel hybrid types, where even
one piece could be exhibited on its own.
“Vivid Planet - Silent conversation”
statement
I create digital collage pieces with the concept of making the invisible visible.
The pieces are made using randomly created materials such as drawings, and combining them with different materials, connecting them visually into a single form.
With this process, I add images from my internal world, my thoughts, and my emotions to discover fresh, new shapes that do not exist in reality, and use them all in
the atypically shaped characters that appear in my works.
The theme of my works is the dynamism of life, and the amplification of my thoughts and emotions adds story-like characteristics to the still, digital images, which
make one feel the shift to and from each scene.
Every character is based on a familiar plant or animal, while at the same time is flexible, rich in variety, and highly rigid.
Unlike the traditional spiritual and occult images of Asia or the anti-naturalist expressions of the West, the atypical forms I use have been influenced by
the Choju Jinbutsu Giga(Animal-person Caricatures of East Asia in the mid-12th century), which were drawn in between the twelfth and thirteenth centuries in Japan,
and the eighteenth century artist Jakuchu ITO (Japanese painter of the mid-Edo period, 18C), especially their comical expressions, and flat, precise depictions, with the addition
of slightly over exaggerated facial expressions and movements, which give the characters presence and compatibility with their surroundings.
I go further and aim to make images that give a different impression when seen close and seen at a distance, for a multiplex of visual nuance and impact,
by constructing the entirety of each piece like a metacollage, that combines several such characters.
Further, the forms of the plants that appear in all of my works also heal us, and at times threaten us by becoming natural disasters, and so become self-conflicting symbols.
The structural harmony of the entirety and the pieces of each piece is based on the Buddhist philosophy of life, the way that the macrocosm of the universe and
the microcosm of human existence interact, is another important element of my work.
Most of my work is output digitally onto cloth and attached to wood panels covered in white coating, which heightens the development of the color, and some are printed
onto paper or put onto acrylic mountings.
I propose a variety of flexible exhibiting styles, with some works having the proportions of traditional Eastern works such as hanging scrolls or fusuma-e, some use
a multi-panel style reminiscent of the screen layout of the vertically long fusuma-e, with images lined up one after the next, and multi-panel hybrid types, where even
one piece could be exhibited on its own.
“Fertile Island 2 (L+R)”
