BEAST STRIKEＳ BACK by Yoshiaki Komatsu
Mixed media(model figure, Ａcryl Medium, Styrofoam)
20 × 16 × 16inch
I tried to shape the existence of a monster, the one I imagined was the figure made by a Japanese video production company. When seeking something in its various forms, thinking whether it can be made by
“newly combining existing elements”,
I made my own new monster by reconstructing it using a monster doll.
Typhoon by Taiga Matsunaga
Ballpoint pen on paper
12 × 12inch
This is Typhoon monster.Wind can not be seen.But it can feel indirectly.For example, flowing cloud,shaking trees, bring a smell from somewhere.I expressed the monster ‘s strong by a power of the nature .
In Progress by Seiya Nakazaki
9 × 22.5inch
A monster that manipulates a smartphone and the person hidden behind the screen.
The two opposing roles have been reversed in this situation.
People operate their smartphone like they are possessed.
Although it is a useful tool, it scatters information, shaves away time and human interaction, and has an adverse effect on both the physical and mental aspects of life.
This world that human beings are supposed be in control of may actually be the virtual reality of a game played by monsters.
What is waiting for us in the future of this ever-progressing scenario?
The falling woman by Momoko Kimura
9 × 12 × 2inch
The grown hair along the backbone like a mane is braided, and the loosened part waves like a tail. （In Japanese, knitting, braiding and weaving are all expressed in the same word “AMU” ）
The word “AMU” in Japanese is used with heart, thoughts, and life, to express the act of creation by attaching objects.
Hair of the woman in the sculptural relief was supposedly cut. The braid was loosened from a cut point, and she who was hung in the air started falling.
yukiyukite by Takahiro Kitamura
25 × 23inch
I will head towards the future between tools and sculptures.
“yukiyukite” means to keep going forward.
Monstrous Moment as Architecture By Senhiko Nakata
22 × 45.75 × 16inch
pattern of monsters by Masaki Watanabe
12 × 12inch
Monsters seem to have been represented in art since three century BC.
Monsters have always been represented in art.
In my opinion, they are the incarnation of the disaster.
According to me, they incarnate disasters.
Placing monsters in a pattern, broke the repetition rule of the pattern.
That shows the disaster made by the monster in the environment harmony.
By placing monsters in these patterns, my objective was to show natural disasters provoked by them in the environment.
Fog Horn by Yuta Ikehara
40 × 78inch
“Monster” recalls The huge existence such as a disaster and the natural disaster and the power that I cannot resist.
The monster idolized as a feeling of ineffectualness without art doing ahead of big disaster, relief of the heart is a symbol of fear and the anger and sometimes becomes a target of the prayer.
I took “Fog Horn” of The title from the original of “The Beast from 20,000 Fathoms” produced in 1953 to be said to be the origin of today’s monster.
I don’t Know Anything.,
by Ryo Kajitani
Pencil, GelMedium, Copic, coffee on Kent board
14 × 20inch
I know nothing,I will treat that well.
Betrayal by Hirotaka Sato
Oil on canvas,Kintsugi
18 × 15inch
I based this piece on the series of Concetto spaziale, Attesa/Attese by the 20-century Italian artist Lucio Fontana, slashing the canvas itself as he was known to do. I then inpainted the cut lines with “Kintsugi.””Kintsugi”is the Japanese traditional art of repairing broken pottery in which cracked parts are put together with lacquer dusted with powdered gold. By portraying the cuts as scenery, they are turned into a positive. This is rooted in the unique Japanese aesthetic that seeks beauty from deficiency and absence. By repairing slashes called Attesa/Attese (expectations) by Fontana, I went over to the other side. Having said that, the affirmative spirit reflected on the evidence of repair in gold suggests “expectations” after all.