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Gallery Ari

Biography

1995

1992

PASUCO co. staff of stone implement section to 1996.

Wakkanai ruins excavation investigation office to 1993.

1989

Otaru ruins excavation investigation office (stone implement and earthenware measurement restoration).
Tokyo burial cultural asset center (wooden relic measurement chart preservation processing,) to 1992.

1987

Graduated, Hokkaido Educational College, Department of Art.
NOEVIR co. Ltd. (make up artist, collar analyst business instructor) to 1989.

1964

Born in Otaru, Hokkaido, Japan.

Selected Solo Exhibitions

2011

"Fragments and the basis", Gallery KINGYO, Tokyo.

2008

2006

"Pandora's Box 5", Sapporo tokeidai Gallery, Sapporo.

Tasty Valentine, Italian restaurant ilpino, Sapporo.
"Pandora's Box 4", Sapporo tokeidai Gallery, Sapporo.

2005

2004

"Merry Reindeer 4", Italian restaurant ilpino, Sapporo.

"Pandora's Box 3", Sapporo tokeidai Gallery, Sapporo.
"Merry Reindeer 3", bar ALPEN, Sapporo.

2002

"Pandora's Box 2", Sapporo tokeidai Gallery, Sapporo.
"Merry Reindeer 2", Sakura Club, Otaru.

2000

1998

1996

"Pandora's Box", Sapporo tokeidai Gallery, Sapporo.

"Stratum", Sapporo tokeidai Gallery, Sapporo.

Otago Art Society Gallery, Dunedin N.Z.
"Merry Reindeer", Sakura Club, Otaru.

1995

1993

1988

Gallery Tapio, Sapporo.

Gallery Takiyama, Otaru.

Gallery Tapio, Sapporo.

1987

Gallery Tapio, Sapporo.

1985

Gallery Tapio, Sapporo.

Selected Group Exhibitions

2010

Wave, Otaru Municipal Art Museum.
2010214, Gallery KINGYO, Tokyo.

2008

Wave, Otaru Municipal Art Museum.
Hokkaido Print Association, Daido Gallery, Sapporo.
Otaru Art Association, Otaru Municipal Art Museum.

2007

Wave, Otaru Municipal Art Museum.
Hokkaido Print Association, Daido Gallery, Sapporo.
Otaru Art Association, Otaru Municipal Art Museum.
Art Cocktail 2007,Gallery KINGYO, Tokyo.
Art Sendai Bashyo, Sendai city, Miyagi.
Ankle Cat Exhibition, Gallery Hibiya, Tokyo.

2006

Art Cocktail 2006, Kasama city, Ibaraki.
Wave, Otaru Municipal Art Museum.
Hokkaido Print Association, Daido Gallery, Sapporo.
Otaru Art Association, Otaru Municipal Art Museum.

2005

Art Cocktail 2005, Yamawaki Gallery, Tokyo.

2004

36th Otaru Art Association, Otaru Municipal Art Museum.
Eleven Artists Exhibition, Otaru Municipal Art Museum.
Hokkaido Print Association, CENTRAL skyhall, Sapporo.
Pacific Rim Art Now, WORKs gallery, San Jose, U.S.A.
Ankle Cat Exhibition, Gallery Hibiya, Tokyo.

2003

Hokkaido Print Association, Daido Gallery, Sapporo.
Seven Artists Exhibition, Otaru Municipal Art Museum.
Pacific Rim Art Now 2003, Otaru Municipal Art Museum.
Art Cocktail 2003, Yamawaki Gallery, Tokyo.

2002

Art cocktail 2002, Gallery Agett, Tokyo.

2001

Hokkaido Print Association, Daido Gallery, Sapporo.

2000

Pacific Rim Art Now 2000, Otaru Municipal Art Museum.

1999

Northern Exposure, ICA, Santa Clara University, Applied Materials Gallery, U.S.A.

1998

Asia Print Adventure 1998, Otaru Municipal Art Museum.
Otaru Print Association, Otaru Municipal Art Museum.

1997

Pacific Rim Art Now 1997, Otaru Municipal Art Museum.

1995

Otaru Print Association, Otaru Municipal Art Museum.

1985

Q Exhibition, Otaru Municipal Art Museum.

1984

100Men Exhibition, Sapporo Citizens Gallery, Sapporo.
Nandemo Uchan, Sapporo Citizens Gallery, Sapporo.

1983

Volunteer of Art course, Sapporo Robinson, Sapporo.

Artist Statement

My life theme is "Magna Mater". That is the goddess of motherly earth. From ancient times to today people have taken over the theme. A stone Venus is a so simple example of that instinct of human grows the art in the name of primitive religion. Even if the society is complicated, people are sophisticated and equip their intelligence or reason, they are born and die eventually. But the human society makes an ideal and thought multiply and make it systematize, inspire of individual death.

​The point "what we should create" becomes an inevitable problem. My "Magna Mater", its emotion is taken in potent and complicated life, sometimes becomes Wind, Sun, Autumn Leaves or the earth. And to express this I use a nude. Because nude is easy to understand and familiar to us, above all man is born from his mother. "Magna Mater" spread in my mind accompanied with several themes and it attribute the origin. Recently, I have a motif that "The vegetable kingdom" and "plantly" belly which is turned over. I'm trying to represent how uncertain if it's a good thing from a parental point of view with lots of anxieties and hopes, when a life has developed to the point that's it can go out into the world.

​Meeting people in many situations, the phenomenon favorite archaeology and a myth. They become a work top hint for me. Even hints and works as a result are set into the history of art or the common theme repeated repeatedly. I concentrate myself and working intently. I believe my work and myself with pure mind.

I hope creating works that can reply any question like that when people want to have my works disappear, it run away or want to be embraced, it embraces them, it helps all over the world people in this restless world to heal their loneliness.

​21st Feb. 2004

"Wood-cut"

I've wanted to make a kind of symbolic patterns on my works to emphasize the meaning of that theme. But when I drew the pattern by my own hand it often starts growing and becomes too strong to maintain the form of the works. Then I conceived to make the pattern by printing instead of drawing. Printed pattern emphasizes the form of the works and leads a nude woman to the beauty, which is not vivid but natural like a landscape. Therefore woodcut is plane works it has comparatively flexibility. And drawing a picture, cutting a wood and printing on a paper are similar to glazing enamel and putting it into a kiln. That is alternative works, success or not. It is very simple. It's likes "Sumo" wrestling! That aspect of woodcut is charming for me.

“Interview 1996” for Ari’s promotion video

Q1. Could you tell me the reason why you started woodcut and the most attractive point of print please?

 

A1. I have been making my works on the theme of Maguna Mater and I’ve wanted to make a kind of symbolic patterns on my works to emphasize the meaning of the theme. 
But when I draw the pattern by my own hand it often starts growing and becomes too strong to maintain the form of the works.
Then I conceived to make the pattern by printing instead of drawing. Printed pattern emphasizes the form of the works and leads a nude woman to the beauty, which is not vivid but natural like a landscape.
Therefore woodcut is plane works it has comparatively flexibility. For instance, it can float a torso in the air or can send a torso to the bottom of a water tank.
Sometimes cutting or printing goes wrong, I think, “Why am I tackling such a troublesome problem.” But, drawing a picture cutting a wood and printing on a paper are similar to glazing enamel and putting it into a kiln.
For example, a case of oil painting, I can re-paint again and again until I feel it perfect. But it is heavy load. On the other hand the woodcut is alternative works, success or not. It is very simple. That aspect of woodcut is charming for me.

Q2. Now, your life theme is “Maguna Mater”, isn’t it? Could you tell me what you’d like to signify with it, and the intention of your work?

 

A2. Maguna Mater is the goddess of motherly earth. From ancient times to today people have taken over the theme. A stone Venus is a so simple example of that instinct of human grows the art in the name of primitive religion. Even if the society is complicated, people are sophisticated and equip their intelligence or reason; they are born and die eventually. But the human society makes an ideal and thought multiply and make it systematize, inspire of individual death.
The point “ what we should create” becomes an inevitable problem. My Maguna Mater, its emotion is taken in potent and complicated life, sometimes becomes Wind, Sun, Autumn Leaves or the earth.
And to express this I use a nude. Because nude is easy to understand and familiar to us, above all man is born from his mother.
Maguna Mater spread in my mind accompanied with several themes and it attribute the origin. I hope creating works that can reply any question like that when people want to have my works disappear, it run away or want to be embraced, it embraces them.

Q3. Finally, could you mention on your dream?

 

A3. I draw and cut just as I feel using mainly woods, and concentrate on each one of my work now. I hope that in the future my works spread all over the world in the shape of lithograph, and help people in this restless world to heal their loneliness.
 

Ⓒ2025 Ari Nakamura. 

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