New Works
You can see each introduction page
by clicking the image.
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Orochi no Kigurumi Hime 01
Princess in Serpent Costume
Size：5.8 × 3.5 × 3.3 cm
Material：japanese box wood with stag antler, buffalo horn, crystal, natural mineral pigments, glitter inlays
Year:2021
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Kitsune no Kigurumi Hime
Princess in Fox Costume
Size：5.9 × 3.3 × 2.9 cm
Material：japanese box wood with crystal, natural mineral pigments, shell inlays
Year：2021
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Tatsu no Kigurumi Hime 01
Princess in Dragon Costume
Size：7.3 × 4.3 × 4.1 cm
Material：european box wood with stag antler, buffalo horn, crystal, shell, natural mineral pigments inlays
Note：sculpture work
Year：2021
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Tatsu no Kigurumi Hime 02
Princess in Dragon Costume
Size：5.3 × 2.9 × 2.8 cm
Material：japanese box wood with glass, natural mineral pigments inlays
Year：2021
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Koma no Kigurumi Hime
Princess in Guardian Dog Costume
Size：4.7 × 3.1 × 3.1 cm
Material：japanese box wood with glass, natural mineral pigments inlays
Year：2021
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Orochi no Kigurumi Hime 02
Princess in Serpent Costume
Size：4.4 × 2.3 × 2.3 cm
Material：stag antler with glass, natural mineral pigments inlays
Year：2021
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Oni ni Kanabō, Shōjo ni Dokuga
Giving Metal Rod to Ogre, Giving Poison Fang to Girl
Size：6.0 × 5.3 × 3.5 cm
Material：moose antler with crystal, shell, natural mineral pigments inlays
Year：2021
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Amaterasu
Goddess of Sun
Size：7.7 × 5.2 × 2.7 cm
Material：stag antler with crystal, shell, natural mineral pigments inlays
Year：2021
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Hiryū no Kigurumi Hime
Princess in Flying Dragon Costume
Size：4.1 × 2.3 × 2.2 cm
Material：stag antler with glass, natural mineral pigments inlays
Year：2021
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Kitsune-bi 01
Will-o'-the-wisp
Size：7.4 × 3.7 × 2.3 cm
Material：stag antler with crystal, shell, natural mineral pigments inlays
Year：2021
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Kitsune-bi 02
Will-o'-the-wisp
Size：6.5 × 4.0 × 3.0 cm
Material：japanese box wood with glass, natural mineral pigments inlays
Year：2021
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Kitsune-bi 03
Will-o'-the-wisp
Size：6.7 × 3.8 × 2.7 cm
Material：european box wood
Year：2021
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Ryū no Mai
Dance Dedicated to Gods by Girl and Dragon
Size：7.5 × 5.8 × 4.7 cm
Material：japanese box wood with crystal, natural mineral pigments, shell, glitter inlays
Note：sculpture work
Year：2021
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Antlers of Deformed Creatures 01
Size：22.0 × 6.8 × 5.0 cm (including pedestal)
Material：katsura(Japanese Judas tree) with glass, natural mineral pigments inlays
Year：2021
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Antlers of Deformed Creatures 02
Size：19.7 × 7.7 × 5.0 cm (including pedestal)
Material：katsura(Japanese Judas tree) with glass, natural mineral pigments inlays
Year：2021
On the title Kamiumi no Fushido ( The Place where Gods are Born )
Regarding the title of this exhibition, Nagashima explains, “I often see dreams, but because dreams are connected with the world of illusions, I thought words expressing the place where one sleeps would be suitable.” The title is based on the relationship between “the place where the artworks as gods(=yorishiro =vessels for people to put their wishes) are born”, “the dreams that connect to the world of illusions”, and “the place of sleep where dreams occur.”
For his solo exhibition in 2020, Nagashima sought to create netsuke as yorishiro, “vessels” that contained people’s wishes. From this, he arrived at the possibility of works similar to “Buddhist Amulet”, talisman figures that can be carried around in the pocket. After that he began creating netsuke and small woodcarvings of juvenile gods in costumes of divine beasts, called the Kigurumi Hime Series, and traveled with them to a residence program in Ise City. He returned (to Tokyo) with firm convictions. The artist hopes to create artworks that will appear like essential support for the heart in the owner’s everyday life. I feel the new series is filled with cute and powerful energy.
For this exhibition, as small wood carved objects, the focus is on Nagashima’s new development. Up to now he has made a fantastical young female the motif of his artworks. The artist felt that, “I would like to create a distinction from the real world; an imaginary depiction is therefore fine.” However, this time Nagashima has carved a realistic girl in a sailor suit. This is an acknowledgement of “actual real life”, but even in this, I think the artist wants to create something that bestows power. It is possibly connected with the artist’s desire that the Kigurumi Hime he created bestow power in the owner’s daily life. The relationship between the power of fantasy and the power of real life, symbolized by artist’s sculpture of a girl in a sailor suit and a dragon, is also a facet of modern religious perceptions.
Nagashima’s main motif has always been a beautiful young girl. But over the last few years, gradually the head-to-body ratio have become smaller and a juvenile look has emerged. The outcome of form and balance between head and body has been a series of artworks depicting juvenile gods. The first was a series of fairy straps entitled Koropokkuru. The current series is an extension of that.
The series of beautiful girl woodcarvings incorporated typical perceptions of anime figure in the carvings. For the Kigurumi Hime series, the perception of soft vinyl toys is strong. I feel there is a determination to include new elements of subculture (with the focus on “culture” rather than “sub”) in the artist’s style. From a gallery perspective, I look forward to seeing how Nagashima’s new mind change and challenge unfold.
Gallery Hanakagesho,
Tatsushi HASHIMOTO
Regarding the title of this exhibition, Nagashima explains, “I often see dreams, but because dreams are connected with the world of illusions, I thought words expressing the place where one sleeps would be suitable.” The title is based on the relationship between “the place where the artworks as gods(=yorishiro =vessels for people to put their wishes) are born”, “the dreams that connect to the world of illusions”, and “the place of sleep where dreams occur.”
For his solo exhibition in 2020, Nagashima sought to create netsuke as yorishiro, “vessels” that contained people’s wishes. From this, he arrived at the possibility of works similar to “Buddhist Amulet”, talisman figures that can be carried around in the pocket. After that he began creating netsuke and small woodcarvings of juvenile gods in costumes of divine beasts, called the Kigurumi Hime Series, and traveled with them to a residence program in Ise City. He returned (to Tokyo) with firm convictions. The artist hopes to create artworks that will appear like essential support for the heart in the owner’s everyday life. I feel the new series is filled with cute and powerful energy.
For this exhibition, as small wood carved objects, the focus is on Nagashima’s new development. Up to now he has made a fantastical young female the motif of his artworks. The artist felt that, “I would like to create a distinction from the real world; an imaginary depiction is therefore fine.” However, this time Nagashima has carved a realistic girl in a sailor suit. This is an acknowledgement of “actual real life”, but even in this, I think the artist wants to create something that bestows power. It is possibly connected with the artist’s desire that the Kigurumi Hime he created bestow power in the owner’s daily life. The relationship between the power of fantasy and the power of real life, symbolized by artist’s sculpture of a girl in a sailor suit and a dragon, is also a facet of modern religious perceptions.
Nagashima’s main motif has always been a beautiful young girl. But over the last few years, gradually the head-to-body ratio have become smaller and a juvenile look has emerged. The outcome of form and balance between head and body has been a series of artworks depicting juvenile gods. The first was a series of fairy straps entitled Koropokkuru. The current series is an extension of that.
The series of beautiful girl woodcarvings incorporated typical perceptions of anime figure in the carvings. For the Kigurumi Hime series, the perception of soft vinyl toys is strong. I feel there is a determination to include new elements of subculture (with the focus on “culture” rather than “sub”) in the artist’s style. From a gallery perspective, I look forward to seeing how Nagashima’s new mind change and challenge unfold.
Gallery Hanakagesho,
Tatsushi HASHIMOTO