SOMEYA Satoshi
| Present | Part-time lecturer, Kyoto University of Art & Design |
| 2014 | Ph.D. Kyoto City University of Arts |
| 2008 | M.F.A. Kyoto City University of Arts |
| 2007 | B.F.A., Kyoto City University of Arts |
| 1990-84 | Live in Indonesia |
Solo Exhibitions
| 2020 | Display, Mitsukoshi Contemporary Gallery, Tokyo |
| 2018 | Unshapen Play, Imura Art, Kyoto Rainy Holes, Nakamuraya Salon Museum of Art, Tokyo |
| 2016 | Showcase gallery 2018, Yokohama Civic Art Gallery Azamino, Kanagawa |
| 2014 | Masticated Decoration II, Imura Art, Tokyo (’13) |
| 2011 | Heritage of S Exhibition, Gallery Keifu, Kyoto |
| 2009 | OKEMONO, Imura Art Gallery, Kyoto |
| 2008 | Heritage of S, Gallery KEIFU, Kyoto |
Group Exhibitions
| 2021 | The Power of Origin, The Japan Folk Crafts Museum, Osaka Yambaru Art Festival 2019-2020, Okinawa (’19) Art Collaboration Kyoto［Beyond Kyoto］, Tea Ceremony House Hoshoan, Kyoto International Conference Center, Kyoto |
| 2020 | Full of Patterns and Designs, The Museum of Modern Art, Wakayama Takashimaya, Nihonbashi Tokyo, Namba Osaka, Kyoto (’19) Sapporo International Art Festival 2020, Hokkaido Museum of Modern Art |
| 2018 | Daikokuya Exhibition, Itamuro Onsen Daikokuya, Tochigi Urushi no Genzai (Japanese Lacquer at Present), Nihonbashi Mitsukoshi, Tokyo |
| 2017 | Hard Bodies: Contemporary Japanese Lacquer Sculpture, Minneapolis Institute of Art, U.S.A. Mitate and Imagination: Homage to Rikyu and Duchamp, Former Junpu Elementary School, Kyoto Three Persons Exhibition by Someya Satoshi, Nakano Yusuke, Paramodel Nakamura Kyoko, Finch Art, Kyoto IMAYO: Connection Past and Present, The Shoto Museum of Art, Tokyo WONDERS vol.1, Paper, Ceramic, Lacquer, MINA-TO Spiral, Tokyo |
| 2016 | 5 rooms, Kanagawa Prefectural Gallery IMAYO: JAPAN'S NEW TRADITIONISTS, UH Mānoa Art Gallery / Honolulu Museum of Art ART SETOUCHI - Autumn, Kakami Island, Kagawa (by app artds studio) |
| 2015 |
KINPA is POP, POP is RINPA: Artistic Practices, AFT 2015 Exhibition, Tokyo International Forum, Tokyo 10th Tokyo Art Fair 2015, Tokyo Dialogue with Materials: Contemporary Japanese Arts an Crafts, Anadolu University, Eskisehir, Turkey |
| 2014 | Dialogue with Materials: Contemporary Japanese Arts an Crafts, Ahmed Adnen Saygun Sanat Merkezi, Izmir, Turkey |
| 2013 | Introducing Contemporary Lacquer, Keiko Art International |
| 2012 | Kyoto Arts and Crafts Biennale, The Museum of Kyoto, Kyoto |
| 2011 | SIPANGU, Takashimaya, Tokyo and Osaka Pop Pop Pop, The museum of Modern Art, Yakayama, Yakayama ZIPANG, Nihonbashi Takashimaya, Osaka Takashimaya, Kyoto Takashimaya The New Form of Japanese Laquer, Itami Craft Center, Hyogo Aizu Urushi Festival, Yamatogawa Shuzo Brewery, Fukushima |
| 2010 | Art Osaka Echigo Tsumari Art Field, 2010 UEBA Kasumi x SOMEYA Satoshi, Gallery Keifu, Kyoto |
| 2009 | The Power of Decoration – A View Point on Contemporary Kogei, The National Museum of Modern Art, Tokyo Contemporary Japanese Lacquer, KEIKO Gallery, MA SOFA New York s/s PROJECT. 001, Canary Production Gallery, Kyoto From Home to the Museum: Tanaka Tsuneko, The Museum of Modern Art, Wakayama |
| 2008 | SOFA Chicago |
| 2007 | ART RAINBOW PROJECT, Kunsthalle Rostock, Germany |
| 2006 | ANDO×SOMEYA Exhibition, Ishida Taiseisya Hall, Kyoto |
| 2015 | New Artist Award, Kyoto City Prize for Young Artists |
| 2009 | Umehara Award, Doctor Thesis, Kyoto University of Arts |
| 2009 | Mayer’s Award, Kyoto University of Arts Annual Exhibition |
- Minneapolis Institute of Arts, MN Kyoto City University of Arts, Kyoto
- The Museum of Modern Art, Wakayama
- Hotel Okura Macau, Macau, China
- Fukushima Museum, Fukushima
- KUNSTHALL ROSTOCK, Germany
Creating a subtle harmony between traditional lacquer and modern pop art, Someya Satoshi is garnering attention as a young artist in the field of figurative sculpture. In the present day, the border between crafts and fine art has become blurred, and more and more artists are attempting to express themselves using the materials of modern life. Yet despite this, some people still use lacquer. Compared to other materials, it is difficult, and especially very slow to work with , so why use it? When this question was put to Someya Satoshi, he answered simply: “If I didn’t find the result attractive, I probably wouldn’t use lacquer.” While, if engaged only on the surface level, Someya’s creations are certainly pleasing to the eye, careful observation will reveal greater depths. In material terms, Someya unites playful decoration with the traditional artistry and craft of lacquer, just as conceptually he unites pop culture with ancient aesthetics (many of Someya’s works are representative of a generation raised on animation).
Using a technique called Dakkanshitsu-- a traditional technique widely used in the creation of Buddha statues which allows great freedom in creating form--he creates the main part of the figure this is. First a mold in the desired shape is created, and hemp cloth is attached to the surface, and layers of lacquer are applied until it is strong, finally, the mold is removed.
Someya’s pieces are decorated, in what appears to be an almost casual manner, with mother-of-pearl, foil, graffiti, and marks like tattoos, however, in the course of observing his artwork; the combination of the striking decorations with the unique material of lacquer, the viewer will find themselves moving from interest to fascination. To employ advanced techniques without making a show of virtuosity is a hallmark of Japan’s traditional craft culture. Someya’s works, though they may appear to be of a different genre, follow this spirit. While on the surface they may appear to be simply ‘attractive’, beneath this is a high level of skill and a powerful sensibility, rooting his works in the strong traditions of this part of Japanese culture.