BIO
Rihomi Sato
Rihomi Sato is an artist native to Tokyo, Japan. Based in New York.
She pursued her studies in abstract painting and mixed media in New York in 2015.
In her work, she features female body parts and Japanese elements arranged in various layers of paints, pieces of paper, and
cloth that create pop and energizing impressions. She cites multiple sources of inspiration including old paintings, pornography,
and social media images.
Her work explores her identity as a woman and a Japanese immigrant and its influence on her life in the United States,
where people from innumerable origins and ideologies coexist. She has begun to reevaluate the Japanese traditions she was accustomed to, despite the fact that she sometimes gets frustrated about how the Japanese culture was superficially promoted
in the U.S. without fundamental understanding, which she has alluded to in her works, with a sense of satire.
Here she finds herself freed from the constraints of gender and femininity that she was restricted in Japan: the westernized standards of beauty and pressures of marriage on women, and fixed gender roles in the family, to name a few. In her work, women’s faces are mostly cut out or blurred. We cannot guess their feelings, but they seem liberated and honest with their desires after finding ways to break free of the shackles imposed upon them by societal norms. Also, the hand-sewn sketches in her collage works reflect activities that were historically assigned to women and thereby marginalized them, such as cooking and crafts.
She depicts women wishing for a changed scenario in their homelands.
日本、東京都生まれ。
2015年にニューヨークに移住後、抽象画とミクストメディアを学び、現在もニューヨークを拠点に活動する。
彼女のコラージュやペインティングではビビッドな色で溢れる画面に女性の身体や日本的なモチーフが配置されている。古代の絵画からポルノ雑誌やソーシャルメディアに氾濫するイメージまで、様々なソースからインスピレーションを得ている。
日本からの移民としてまた女性としてのアイデンティティを作品を通して探っている。
作品の中で皮肉的に示唆されるように、アメリカに広がる表面的な日本文化にもどかしさを感じることもあるが、多様な背景を持った人々が集まるニューヨークで生活する内に生まれ育った日本の慣習や価値観に疑問を持ちはじめ、
アイデンティティや価値観の揺らぎが作品に反映されている。
特に日本における西洋的な美への憧れや女性に対する結婚のプレッシャー、家庭での固定的な役割など、ジェンダーや女性らしさに関する制約から解放されたことが作品にも影響を与えている。
作品の中の女性たちは、顔がなかったり、あるいはぼかされたりしていることが多い。彼女たちの気持ちを推し量ることはできないが、足枷から解放された彼女たちは自分の欲望に正直に生きているように見える。
また、コラージュ作品に見える手縫いのステッチが歴史的に周縁化されてきた女性の仕事や役割を暗喩する。母国の状況が変わってほしいと願う女性たちの姿が描かれている。
art
Exhibition
2022 " BEAMS POP UP SHOW " BEAMS T HARAJUKU, TOKYO
2021 " LAYERS OF THE MOMENT " 3RD ETHOS Gallery, NY
2019 “ New Japanese Horizon “ WHA Center, NY
“ EPOCH CENTER “ The living artist gallery, NY
“ CONSTITUTION “ Con Artist Collective, NY
“ SJAC 2019 “ Tenri Cultural Institute, NY
“ EVERY WOMAN BIENNIAL “ NY
“ insight “ Art Point Gallery Ginza, Tokyo
2018 “ Small works show “ 440 Gallery, NY
“ Summer residency show “ Con Artist Collective, NY
“ Monster exhibition “ Shibuya Hikarie Shibuya, Tokyo
“ Intensity of wants “ J-Collabo, NY
“ Second Annual International Women’s Day Art Fair “ One Art space, NY
2017 “ Annual Group Exhibition “ J-Collabo, NY
“ Bloomig in Brooklyn “ J-Collabo, NY
“ Our Mail Art Summer Biennial “ Ground floor Gallery, NY
“Wish You Were Here 16”, A.I.R. Gallery, NY
2013 Yho Art Gallery, Tokyo
Award
2019 Merit Scholarship Abstract Category, The Art Students League of NY