Masahiro WADA・Tomohiro NAGAHATA
The National Monogatari, Okutama -December's Aurora-

2019.12.13(Fri)- 2020.1.25(Sat)

[Opening Reception]
2019.12.13(Fri)18:00 ‒

[Tue ‒ Sat] 11:00 ‒ 19:00

[Sun・Mon・Public Holidays] Closed


More details coming soon.


“Mapping My Seeds”

2019.11.8 (Fri) - 11.30 (Sat)


[Opening Reception]
11.8 (Fri) 18:00 ‒


[Tue ‒ Sat] 11:00 ‒ 19:00
[Sun・Mon] Closed

We are pleased to announce the exhibition “Mapping My Seeds” by the painter, Asa HIRAMATSU.

HIRAMATSU has consistently drawn the silent landscapes that exist in her body, on the heavy matière which is produced by the repetition of layer, digging and sanding of oil paints. A lot of the works have taken some kind of minimal forms; in which she has drawn a leading motif in a painting. Clouds, ground, window, stick..., the motifs that are selected for the paintings are various. But the works have the signs of the vast and stark world, in common. Meanwhile, the each works have the complete / independent appearances as one painting, so they have shown the respective worlds singly.

By the way, for HIRAMATSU, the action of drawing the landscapes that she sees in her body has some functions: expanding the area of the land she knows, or renewing the map of the land. So the recent big change in her production / exploration into the land is: that she has come to draw the sign of her own visit occasionally, not only the landscapes or objects she has seen as before. In the works of this exhibition, “her own signs” are: the lope joining a stick and a rock, or the copious seeds that are sown in the land. In association with the birth of the painter's commitments to the landscapes; the fields of view in a painting are extending than before, and the broader spaces are coming to be drawn in the paintings. So, the organic motifs such as plants or foods, or the bright colors that come to appear in her recent painting might be: the symbols of feelings of advancing into the depths, with cultivating the lands in the body.

In this exhibition, we aim to show the "map" of the land; by mapping her newest works that are filled with the new signs like the hunch of fertility. It is a trial to show systematically the world of the works that come to have the rich expanses; by exhibiting correlationally the works that have existed singly. Please come in touch the newest works by Asa HIRAMATSU; who comes to show the various new germinations.



La la la la la la la la la la..........
Do do do do do...
Ah ah ah..


2019.10.4 [Fri] - 11.2 [Sat]

10.5 [Sat] 18:00 ‒

[Tue ‒ Sat]11:00 ‒ 19:00
[Sun・Mon・Public Holiday]Closed

We are pleased to announce a Solo Exhibition “・/♯ La la la la la la la la la la.......... Do do do do do... Ah ah ah..” by the painter, Narumi SASAKI. This exhibition is her first solo show after the graduation.

In the recent works, she uses canvas and oil paint as the main medium; meanwhile, often adopts the improvised and various technique of collage: combining minerals or woods, self-made ceramics or glasses, or fragments of the other canvas. The motifs suggestive of plants or the bright color appear to show vitality and mystery of nature humorously; but on the other hand, the paints fix on the canvas with the undecidable and abstract shape, as if they get around the definite and rational interpretation.

Via the various transitions of styles, SASAKI has reached the present style. But consistently, she has pursued the style that is according to her real feeling further; seeing the relationship of following 3 things: the impulse “draw something” that human fundamentally has, the metaphysical world that the impluse aims for, and the painting as an existence that appears on the halfway point between the impulse and the world.

For instance, in religious arts that she often saw while studying abroad and research in Europe, a simple action “drawing geometrical pattern without thinking anything” may have a character like the religious faith, and be a way to touch the divinity; even if there isn’t action of drawing the idol’s self. She feels something that is common to her own production in such “drawing” actions adjacent to “praying”; Namely, the expression of impulse to draw that has existed from the primitive era to the present day. Like this, in her works, we can see such various influences from many types of visual arts of all times and places, not limited to contemporary art.

And to embody such spritual energy, the following specific characters that oil paintings as flat-surface works have are essential functions for her production: Paintings assume that the viewers see the surfaces from the front. (Namely, unlike sculptures, the viewers can't see the back side.); Oil paints are diaphanous and let us see the underlayers. For her, these characters symbolize the layers of the plural worlds. In the works in that the various materials meet organically, we can see her action of: dialogues with the materials in the space called a painting; minglings the materials; trying to touch the metaphysical world of the other side of a canvas.

This exhibition will be composed by the newest paintings including a large-size work that have seldom been seen in her recent production, and the pieces that are carefully selected from the past works. We highly appreciate that many people see the genuine debut of the painter who pursues the primitive propositions and the unknown shapes.

Saiko KIMURA “Inside A Room, Outside A Room”

2019.9.3[Tue] - 9.28[Sat]

[Opening Reception]
9.6[Fri]18:00 ‒

[Tue ‒ Sat]11:00 ‒ 19:00
[Sun・Mon・Public Holiday]Closed

We are pleased to announce the solo exhibition “Inside A Room, Outside A Room” by the painter, Saiko KIMURA. Not only making paintings and holding exhibitions, KIMURA is active in the various fields: for instance, illustrations for newspapers or books. This is her 1st exhibition in LOKO GALLERY.

Consistently, KIMURA has treated the plants and the familiar natural environments as the motifs of her paintings. Many of her works are produced through the complicated techniques: Firstly, she makes the multilayered base on the cotton with acrylic and some kinds of medium, so draws the transparent and vibrant figures of plants by the oil mixed with the beeswax.And in many cases, the photos of plants taken by her have been refered when she draws. The vivid color and line drawing give out the dynamic vitality on the surfaces of the paintings that have the distinctive texture. Meanwhile, also the static moments derived from photos live together in the paintings. It’s her works.

On the other hand, KIMURA has gradually changed the style of production. In this exhibition, in addition to the usual series that is based on the photos, the new series will be exhibited: the works that she drew out of doors seeing the natural environment, or drew inside her room seeing the view of outside of a window. These new experiments weren’t hammered out to lead the novel developments. They occured naturally under the influence of the rich nature of Saga where she has moved to last year, and the new residential environment. The paintings have not only the atmospheres of her past works, but also the expressions that have never been seen.

Comparing the various works that were made through different production process and have different expressions; we can see the defined changes in the eyes or the consciousness of the painter, even if the motifs such as plants or daily scenery haven’t changed. From these paintings, the fluid breath of nature and the artist’s beating that synchronizes with the nature appear multidirectionally. Those aren’t caught by the simple words such like “vividness” or “vitality”. The difference and changes that occur in KIMURA’s paintings are very natural. Like plants that grow changing their own modes of life according to the environments, also her paintings seem to have fluid and spontaneous system.

Please come in touch the newest works by Saiko KIMURA; who pursues her own expressions hailing to the outside world each other.

Torsional Corridors

2019.7.12 [Fri] − 8.10 [Sat]

[Opening Reception]
7.12 [Fri] 18:00 ‒

[Tue ‒ Sat]11:00 ‒ 19:00
[Sun・Mon・Public Holiday]Closed

We are pleased to announce a solo show “Torsional Corridors” by the painter, Yuuki WATANABE. This exhibition will be his 2nd LOKO GALLERY appearance since a group show last summer; and this will be his 1st real solo show.

WATANABE is in doctoral degree now; and has worked at reconstructing familiar motifs such as daily necessaries, toys and parts of human body on the paintings consistently. In his production, the textures of surfaces of various objects are observed, and drawn realistically. But simultaneously, they are composed in the ways that are peculiar to the paintings: such as adopting the shaped-canvas that are formed corresponding to the shapes of the motifs.

For example, in a painting in which a nude woman going up the stairs is drawn; the upper side of the painting has a function as “a window frame” that trims the motif from the outside. On the other hand, the stair-shaped lower side functions as “a ground” that the soles of the feet touch, and shares the dimension with the motif. One of the keywords in WATANABE’s works is such various “torsions” that occur to the frames of the paintings.

It is his fundamental theme to connect our senses to the hyperspaces that aren’t either 2 or 3 dimensions, meanwhile evoking the real feelings by his unique ideas and methods. The frames WATANABE arranges are the outer shells that retain the pictorial spaces, and are also the fluid devices that relativize the frames of our consciousness.

Please enjoy the entrance of his sedulous painting world, with a focus on the newest works.

Ten-Tan Keisuke KONDO・Hideo FURUKAWA

March 22 - April 21, 2019.

[Live drawing and writing]
23 March(sat)PM
[Opening Reception]
23 March(sat)18:00 ‒

[Tuesday – Saturday]
11:00 – 19:00
Sun, Mon
*Last Sunday will open.

More Details Coming Soon.

Hans Andersson

Feb. 8 [Fri] ‒ Mar. 9 [Sat] 2019

[Tue ‒ Sat] 11:00 ‒ 19:00
[Sun, Mon, Public Holiday] Closed


[Opening Reception]
Feb. 8 [Fri] 18:00 ‒

[Artist Talk]
Feb. 8 [Fri] 19:00 ‒

LOKO GALLERY is pleased to announce the first solo exhibition in Japan by Swedish artist Hans Andersson.

Over the years, Anderson has been working with abstract images and sculptural objects using found materials. The artist gives the new history through his long time manual work to objects such as paper bags, plastics, metal scraps and old photo albums abandoned on the streets with their own meanings and history and sublimates them as an artwork. In his carefully structured collages and delicate drawings, you may see process of execution, but actually it is intuitive, not logically assembled, and it is closely related to the artist’ s acts themselves.

Andersson's working style is both spontaneous and passive. He purposely faces to the materials without having a clear plan, and the artist himself will change along with the works and the environment of working place. His production method, which excludes predictions and semantic interpretation and places an emphasis on purely experiencing the situation, is like meditation, and his works may be a record of a spiritual journey of the artist.

The artist who was influenced by Zen thought, Kitaro Nishida's philosophy and activity of Mono-ha, had stayed in Japan for a few months in 2017. In this exhibition, 4 meter huge and other paper collage works produced with a new perspective after staying in Japan will be exhibited accompanied by sculptural objects using metal and leather.

There is no title in his works and all previous solo exhibitions including this show. This shows us artist's intention to encourage viewers to bear away from the words and meanings and to perceive and interpret the works in areas beyond the language.


Marcia Cavalcante writes in Lovtal till intet (Eulogy to Nothingness) on how the truth value of interpretation must be sought in the very process of understanding, and that this moment of discovery as such is the focus. For me, to make art is to attempt to be part of the process of understanding. It is an experience occurring in a present moment, where it is always possible to encounter something for the first time. It is a form of de-creation, in which one refrains from identifying with the previous experiences through which the world is encountered. This does not mean denying these experiences, but to not consider them a part of oneself.

- Hans Andersson


Hans Andersson
Born in Kalmar, Sweden in 1979. Lives and works in Stockholm.
Graduated from Konstfack University College of Arts, Craft and Design in 2005. He has received several awards and grants such as Helge Ax: son Johnson Foundation and the Arts Grants Committee working grant. He stayed in Japan for 3 months with a residency program of AIT (Arts Initiative Tokyo) in 2017 . He participated in many exhibitions such as "Sweden · Art Now" (Swedish · Art Museum, Stockholm, 2016), "If you do not like art" (Vest / Fonsan Museum of Art, Norway, 2017), Solo exhibition (Royal art academy Stockholm, 2018). His works are several public collections such as the Marumo Art Museum (Sweden) and the Swedish Art Association, the Swedish National Art Council, Fenberger House (Nagano, Japan).

Yusuke ABE
Live through the backwoods

2018.12.7 [fri] ‒ 2019.1.26 [sat]

*12.29 [sat] - 1.10 [thu] : closed


[Opening Reception]
12.7 [fri] 18:00 ‒


[tue ‒ sat] 11:00 ‒ 19:00
[sun・mon・public holidays] closed

We are pleased to announce Solo Exhibition “Live through the backwoods” by the painter, Yusuke ABE. He is a young painter who just graduated from master's course of art university; but has been deploying his activities with stoic production and powerful works at home and abroad, and has attracted people’s attention little by little. This exhibition is his first solo show after graduation.

The pop characters, that are full of feeling of stir as if to realize at once. Or the strange screens, that are generated by the bold construction such like; sticking trading cards or plastic products on the painting; gluing other canvases on a canvas. When we stand in front of ABE's painting, At first these catchy elements attract our eyes. We can read his memory related to game culture or nature that he has communed with from childhood to now; or his original critic eyes and new presentation about form and style that are led by his honest research on painting and fine-art history.

Even if you enjoy only these elements, ABE's works are sufficiently attractive. But beyond them, there is more different, indescribable something that propels him to create paintings.

For example, ABE says that: the insects, fishes and fictitious monsters that he adopts in his paintings are absolutely equivalent to a line that was drawn by a paintbrush casually. Insects in bush, fishes in water, monsters in the world of card or game. They come into existence in accordance with the environment of respective dwelling, and live. Since childhood, ABE has encountered those residents of other worlds through insect collecting, fishing or playing games. And he has been surprised at the existence of them that have life and environment that are distinct from himself, and attracted to them. And the interest evolves into self-awareness that he himself also lives in the limited environment, “world of human”; and that he is still not different from the residents.

When he was a high school student, he took oil paints for the first time, and drew a casual line on canvas. For ABE, The color line looked like living thing that was established and given life by the structure of the world where the line lives, namely the environment of “world of painting”. And that is still not different from the residents, too. This is an episode that describes his origin of incisive sense toward visual arts. In addition, paintings have not only such autonomous environment, but also evident traces of the artist. For him, paints and brushes may be the tools to access simultaneously both world like his alter ego, and completely different unknown territory. He has been absorbed in such ambiguity that painting has, and piled up production.

What does the word “Free” mean in the title of this exhibition? (Note: English metaphrase of the title is “To be free decisively”.) Of course, for him, that doesn't mean the superficial elements such like sticking favorite things on the painting, or applying strange composition. Assuming that painting for ABE is a tool to grasp and seek both the world he lives and the other worlds other life live; the “Free” may be, for instance, burning his own life maximum in his own environment; while touching some worlds that exist in plural dimensions, and feeling the respective fate that we can’t get away from the each environment.

This exhibition will be composed of his newest series in that various techniques of his past works are included, and the important pieces that are selected from numerous works in the past few years. We highly appreciate that many people see the debut of the anticipated painter who faces painting most sincerely, desperately, and directly, at present.

Sequoyah AONO
Vital Beating

2018.11.1 [thu] ‒ 12.1 [sat]

[Opening Reception]
11.1 [thu] 18:00 ‒

[tue ‒ sat] 11:00 ‒ 19:00
[sun・mon] closed

We are pleased to announce Solo Exhibition “Vital Beating” by the sculptor, Sequoyah AONO, who has been deploying his activities based in New York. He attracts people’s attention showing his high skills to carve delicate realistic objects, his flexible works by wide range of stone, wood, metal, and/or experimental approach to wood works by burning or cutting parts off. In Western countries he has been highly acclaimed by huge outdoor sculptures and commission works; however, this is his first solo exhibition in Japan.

AONO’s latest work 《Sculpture of Liberty》, the core of this exhibition, is sculpted of black marble which he has kept for about 10 years. From last year to this year he cut out this marble, scrupulously carved, polished and created an elaborate life-sized self-portrait. And then, as the finishing touch, he vandalized this sculpture by knocking down to the ground. At the exhibition you will see the dismembered sculpture itself and the video film which shows the moment of collapse.

At first glance, to complete the sculpture by means of destroying seems to be negative or catastrophic action. But AONO who has daily kept carving stone or wood, says that the action of carving is also destroying; in the sense that it adds artificial changes to material which power of nature creates in years and years. He adds the process of collapsing his core piece to the ground utilizing gravity is somewhat away from artificial carving.

Through these process, the work 《Sculpture of Liberty》 and the exhibition lead us to new viewpoint. The cross-sections by collapsing are beyond imagination - even the artist himself couldn’t expect, and viewers will appreciate unknown prospect and outlook. This destroying action doesn’t mean end or completion; it animates sculpture and it's considered as a starting point to new creation. Eventually, AONO intends that this becomes new questions or irradiation toward essence and visual sense of sculpture-art in general. His works may evoke themes such as succession of cultural assets, perfection and historicity like 《Fragment of a Queen’s Face》 possessed in the Metropolitan Museum of Art in NY, of which striking fragment ushered him to this exhibition as the start. Also destruction and construction by constant disaster in Japan and his own mixed identity of Japan & America exist here as his consistent theme as well.

We highly appreciate that many people see his elaborate artisan sculpture-technique and share creation moment of experimental challenge by detaching hands from the work,《Sculpture of Liberty》.




It’s been almost 10 years since I had first seen a sculpture, 《Fragment of a Queen’s Face》 in the Metropolitan Museum of Art.

The Queen’s head sculpture is said to have been carved during 1352-1336 B.C. and she has lost the most part of head remaining only her mouth and chin.  The large cross section split sharply like a sheet of glass and the fascinating yellow stone tells its hardness.  The split section reveals some kind of vitality and shows natural face of material.  Beating between pure natural look of stone and the artificial surface carved by a sculptor bring out each other to vital advantage.  And the big “lack” stirs up viewers’ imagination, arouses a great deal of controversy and keeps fascinating people in all the years.  If this sculpture were unbroken and remained intact, I wouldn’t feel abnormal impatience to the lost parts like one-sided love, and it would solely come into my eyes as one of the precious cultural assets.

Since I started carving at the university, I’ve been working attracted by the beauty of natural materials and essence of carving.  But at the same time I daily struggle with contradiction or difficulty to complete works by “destructive” action of carving original beautiful natural materials.

After my encounter with 《Fragment of a Queen’s Face》, I just started wondering if there would be the limit in artificial creation, of which thought has gradually strengthened in me, and so I have done a lot of research such as burning or cutting off wood to seek accidental nature just before completing pieces. For familiar examples, in ceramic art; color and brightness of pottery developed by high heat cannot be predicted. “Yakishime-Final Burning” changes the pottery shape and the process of fixing glaze.

Even if broken, cultural assets leave beauty and are wrapped in mystery.  Even though they are created by history, time or accident and their final shapes are enchanting objects with nature power, can’t they be regarded as same as potteries that are made through mysterious high heat processing.

Not creation from nothing, but calculating a lot of requirements or elements that constitute timeless and borderless fascination or beauty, I’d like to incorporate the idea to produce my own art in our times.

Japan is an earthquake-prone country, and has ever experienced a lot of misfortune including being nuked at Hiroshima, Nagasaki and Fukushima; so been forced various ordeal.  For Japanese, actually “Destroying and Creating” may have been familiar for generations.  I have been in America for the past years, but on this occasion of exhibition in Tokyo, I’d like to grope for answers “What are Japanese?” or “Who am I?” through the sculpture; and to invite viewers to unknown and xenogeneic world.

Sequoyah AONO