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Kumikaho Oshimaorgy2009
2009
About the Item
The artwork is unique
This artwork come directly from the Artist's Studio : Studio CrazyNoodles .
The artwork is signed by the Artist on verso of the canvas & stamped with the logo of the studio of the Artist, 'Crazy Noodles', on verso of the canvas
The artwork come accompanied with an original Certificate of Authenticity issued by the studio of the Artist and signed by the Artist
Mint condition
Shipped from France.
Kumikaho Oshima is a young Japanese artist whose paintings revolve around two chief motifs – Barbies and US Dollars. Japan isn’t really different from the western world when it comes to the plague of consumerism and Oshima’s goal is to illustrate the condition of modern Japanese women. Through her satirical work, Oshima is criticizing the excessive implementation of western trends into Japanese culture and art, as well as the appropriation of western symbols and values. Aesthetically speaking, Oshima’s work belongs to the neo-pop art movement in Japan
Revolution in Manners and Morals
The position of women in Japanese society was very traditional and based on the clear hierarchy for many centuries. Western influence was the main factor which transformed the morals and manners of Japanese women, who began to perceive money as power and material goods not only as a luxury but more as a necessity. Through the strong satire and criticism, Oshima’s work speaks about the revolution of Japanese women’s morals and desires. Barbie dolls are the symbols of physically ideal but superficial modern women while US dollars are playing the role of the ultimate need of these seemingly emancipated modern women. Oshima also introduces the motif of nudity and orgies, perhaps suggesting that anything can be done for money and that selling our own body is not a serious issue anymore.
Limited Colors, Tremendous Energy
Oshima’s work is subtle and her colors limited. She is using subdued earthy and fleshy tones, which give her paintings a certain washed-out feel. However, this subtlety of Oshima’s palette is quite deceiving, because the scenes she depicts possess a strong sensuality and fierce emotions. Oshima is a very meticulous painter and she carefully focuses on the concepts behind her pieces before painting them. She needs a very clear vision to make her creative processes run smooth. Even though Oshima is a painter, she is using some of the photographic techniques in her work, such as avoiding to put the subject in the very center of the frame, which makes her scenes more dramatic and dynamic. Also, she is using a lot of close-ups in order to focus on the bizarre mix of naked body parts of her Barbie dolls and graphic details of US dollars.
New Generation of Japanese Artists
Kumikaho Oshima belongs to the new generation of female Japanese artists who are brave and ambitious in their desire to reach the international audience. She is also the part of the Studio Crazy Noodles, which is specializing in the Japanese neo-pop and erotic representation of female characters engaged in subversive activities. The value of Oshima’s work lies in her strong desire to depict the pressing issue of consumerism and the toll it takes on Japanese women. She has developed quite consistent and recognizable style that already appeals to the international art circles.
Kumikaho Oshima lives and works in Tokyo, Japan.
What Is Kawaii?
The Japanese concept of kawaii—best translated as “cuteness”—has grown from a national trend to a global phenomenon. Sanrio’s Hello Kitty has been valued at $7 billion; the Oxford English Dictionary named an emoji its 2015 Word of the Year; and Nintendo’s Pokémon Go recently became the most downloaded game in smartphone history. The kawaii movement is wide in scope, spanning Manga comics, Harajuku fashion, and Takashi Murakami’s “Superflat” artworks, but what’s behind the aesthetic, and why is it so popular?
Japan’s culture of cute began in the 1970s with a youth movement developed by teenage girls, involving handwriting in a childlike style. The new script was given a variety of names, such as marui ji (round writing), koneko ji (kitten writing), and burikko ji (fake-child writing), and featured text with stylized lines, hearts, stars, Latin characters, and cartoon faces. Many scholars cite this trend as a reaction against the rigidity of post-World War II Japan, as the pursuit of kawaii enabled youth to find a sense of individuality and playfulness in an increasingly serious and depersonalized environment. While many schools initially banned this writing style, advertisers quickly caught onto the trend, using the new aesthetic to market products to the younger generation.
In 1974, the stationary company Sanrio launched the character of Hello Kitty, printing the now-iconic whiskered white cat on a vinyl coin purse. Forty-two years later, Hello Kitty has been placed on over 50,000 products in more than 70 countries, including toaster ovens, alarm clocks, airplanes, and even sex toys. In 2008, Japan named Hello Kitty as its tourism ambassador, an official invite to the rest of the world to join in on the adorability binge that is kawaii.
But Hello Kitty is not alone. In fact, each of Japan’s 47 governmental offices has its own kawaii mascot, such as the rosy-cheeked bear Kumamom for the bullet train and the wide-eyed Prince Pickles for the police force. Pokémon has developed another 700 kawaii creatures over the past 20 years, some of which are currently running virtually rampant in cyberspace. Emojis, bitmojis, and even those adorable Casper subway advertisements all take root in the kawaii philosophy.
While kawaii characters are diverse, spanning species both real and imagined, they often follow a basic formula. Kawaii creatures have limited facial features—two wide eyes, a small nose, and maybe a dot for the mouth—rendering them emotionally ambiguous and enabling viewers to project upon them. (For this reason, iPhone emojis have been criticized as not kawaii enough by some Japanese consumers because they feature a greater amount of emotional specificity.) Almost always outlined in black, kawaii characters are pastel-colored, graphically simple, and childlike. Designed to elicit a sense of nostalgia, they often feature big heads and little bodies in order to match the proportions of infants and baby animals.
Scholars have suggested that people grow attached to kawaii characters precisely because of their youthful nature, which elicits the evolutionary impulse to care for the young. “Hello Kitty needs protection,” the sociologist Merry White once explained. “She’s not only adorable and round, she’s also mouthless and can’t speak for herself.” Tamagotchis—a nostalgia-inducing timecapsule for those who came of age in the ’90s—are Japanese gadgets that epitomize this theory, as they require users to look after small digital pets that are sweet and helpless. Reportedly, some Pokémon Go users have opted out of evolving their pokémons, preferring to keep them in an infantile state rather than growing their powers.
The effect of the aesthetic is also to return us to a childlike state. Many from the so-called kawaii generation also desire to be kawaii themselves, whether through infantile voices or juvenile dress. For example, the kawaiitrend of “Lolita fashion” promotes a Victorian style of clothing, ripe with innocent-looking petticoats, ruffles, pastel colors, and large ribbons and bows. Whether Lolita-kawaii is named after Vladimir Nabokov’s controversial novel or is Japanese in origin, however, is still a hotly debated topic.
The Lolita aesthetic is not the only sub-brand of kawaii thriving today.Guro-kawaii (grotesque cute), ero-kawaii (erotic cute), kimo-kawaii (creepy cute), and busu-kawaii (ugly cute) have all emerged as alternatives to the more traditional style of Hello Kitty and Pikachu. Meanwhile, contemporary artists Murakami and Yoshitomo Nara have ushered kawaii into the fine arts, creating their own series of wide-eyed characters that range from the vapidly cute to the uncomfortably sinister.
In his paintings and sculptures, Murakami reminds viewers that the style of kawaii carries with it a certain darkness. His depictions of cartoon mushrooms, for example, appear entirely joyous at first glance, but also recall the bombings of Hiroshima and Nagasaki. For Murakami, the kawaii aesthetic acts as an enduring symbol of the infantilized nature of occupied Japan after World War II—a manner through which people found escape from the trauma of war.
Since its beginnings, the kawaii craze has been a rebellion against the seriousness of adulthood—a counterbalance to the harshness of the real world. Under the strain of a polarizing election cycle, it is perhaps no wonder why over 15 million people have decided to temporarily tune out the news for a dive into Pokémon Go. The app invokes the child within, encouraging users to find imaginary friends and care for them, or at least so I’ve heard. This writer is still at level one.
Sarah Gottesman
- Creator:Kumikaho Oshima (Japanese)
- Creation Year:2009
- Dimensions:Height: 57.49 in (146 cm)Width: 44.89 in (114 cm)Depth: 1.19 in (3 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:PARIS, FR
- Reference Number:1stDibs: LU40231411163
Kumikaho Oshima
Kumikaho Oshima, an avant-garde force in Japanese art, deftly wields satire as her chosen artistic tool, skillfully dissecting the nuanced influences of the West on Japanese culture. Firmly rooted in the dynamic currents of the neo-pop art movement, Oshima's creations serve as powerful vehicles challenging the appropriation of Western symbols within the cultural landscape.
At the core of Oshima's compelling narrative lies a profound exploration into the ever-shifting morals and desires of Japanese women. Her artistic canvas, adorned with symbolic elements such as Barbie dolls and US dollars, becomes a vivid tableau illustrating modern ideals and perceived necessities. Through the evocative use of motifs like nudity and orgies, Oshima provokes contemplation, offering a unique perspective on the commodification of the human body within contemporary society.
Oshima's masterful use of a subdued palette, rich with earthy and muted tones, imparts a washed-out quality to her canvases. Yet, beneath this subtlety lies an undercurrent of intense sensuality, adding layers of complexity to her compositions. As a painter who seamlessly integrates photographic techniques, Oshima strategically situates her subjects off-center, injecting a sense of drama and dynamism. Close-up shots delve into peculiar amalgamations, intensifying the impact of her incisive social commentary.
Venturing into the realm of three-dimensional expression, Oshima introduces the captivating "Dollar Dreams in Neon Barbie World" wall sculptures. These innovative pieces merge the luminosity of neon lights with the iconic presence of Barbie dolls, resulting in a mesmerizing fusion that explores the interplay between modern aspirations and consumer culture. Each sculpture serves as a visual symphony, drawing viewers into a dreamscape where economic desires and plastic fantasies intertwine seamlessly.
Complementing this groundbreaking series is Oshima's "Luminous Transactions: Barbie Chronicles in Currency Boxes." These sculptures elevate the mundane to the extraordinary, symbolizing the transactional nature of contemporary existence. The luminosity emanating from these thought-provoking sculptures invites viewers to contemplate the intricate interplay between consumerism, identity, and the evolving desires embedded in the neon-lit landscapes of our contemporary world.
A torchbearer for a new generation of audacious and ambitious female Japanese artists, Oshima's ambition extends beyond national borders. As a proud member of Studio Crazy Noodles, renowned for its expertise in Japanese neo-pop and the nuanced erotic portrayal of female characters, Oshima not only challenges established norms but firmly establishes herself as a bold and indispensable voice in the ever-evolving tapestry of contemporary art.
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