• 南青山   Art&Spaceここから ドローイング展(グループ展)


  • 南青山     Art&Spaceここから What’s DRAWING?!(グループ展)

  • 新宿   The Artcomplex Center of Tokyo 大細密展2018 (グループ展)

  • 長野    萱アートコンペ 入選

  • パリ   パリ国際サロン ドローイングコンクール 入選


  • 名古屋  ART NAGOYA 2019(アートフェア)

  • Los Angeles The Hive Gallery and Studios  LineAttack8                                    Featured Artist Main wall

  • 千葉      BandH Gallery katekin & ViSiTH357(2人展)

  • 新宿    The Artcomplex Center of Tokyo 大細密展2019 (グループ展)

  • Los Angeles The Hive Gallery and Studios  Visionary shows

  • Los Angeles The Hive Gallery and Studios Master Blasters of Sculpture 11

  • 阪      ミライエギャラリー 第4回感性の息吹展(グループ展)

  • 新宿    The Artcomplex Center of Tokyo 抽象×細密展 (グループ展)

  • 長野   Roger 現象×脳 1st (個展)

  • 大阪     ZERO展 0号展 ZERO会賞

  • 千葉     金谷美術館コンクール 入選

  • 大阪     アートムーブコンクール 入選

  • 長野      萱アートコンペ ロジェ賞


  • 静岡   国登録有形文化財 花咲乃庄 現象×脳 2nd (個展)

  • 長野      萱アートコンぺ 受賞作家展

  • 新宿    The Artcomplex Center of Tokyo 大細密展2020 (グループ展)

  • 大阪     ZERO展 本展 入選

  • 静岡   第39回ふるさと知名人 チャリティー色紙展

  • ​静岡   プライベートギャラリー 開設

  • Santa Clara B-Bridge International, Inc. と業務提携

静岡県磐田市出身 在住































What do I consider to be absolute "beauty?" I believe it to be something natural, something organic, like plants and animals. And so, each day, I come into contact with many such flora and fauna, witnessing their lives and deaths up close.
In the course of such a life, I bear witness to beautiful colors impossible for humans to create, and embrace a variety of diverse "emotions."
These are the reasons why my art is portrayed in monochromatic hues. I do not want to apply artificial colors to my work. All that I need are white and black, light and darkness.

And the reasons why my art is so tiny is that I believe that if I use paper that is too large, then detailed depictions will become prone to patterns, and I feel discomfort in outputting several days' worth of "emotions" into one single piece of artwork.
My style of drawing is to randomly move my pen around, and as I do so, something comes into focus, and that goal is where I progress towards finishing.
This "something" that I speak of is primarily plant and animal in nature. However, my brain seems to want to express not only the exterior of such organisms, but their bones, internal organs, cells, and even their "emotions," and thus, my work becomes ever more intricate and detailed.
The problem with my brain is that it appears to prefer unconsciously inputting a wide variety of information, and so, if I let my guard down too much, a flood of disconnected ideas, thoughts, and visions can come rushing forth like an overflowing spring.

And so, I decided to grant my brain a place to harvest its output.
This is "the reason I create art."

To be truthful, having such a wonderful yet troubled brain can be difficult in conducting my daily life, and I can always feel the gap that exists between myself and others in social interactions.
However, I must continue to live in my community.
And so, I do what I can to conform myself within the framework that is society.
But I cannot simply strain uncomfortably within the bonds of convention, I must also grant myself a place where I can live in my natural state.
This is "the reason I must create art."

Finally, humans are animals as well. And so, I wish to love humans, but my brain seems unable to do so.
The world as seen by humans, the world as sensed and experienced by humans. To think that these concepts form the entirety of this universe are perhaps proof of humanity's greed and arrogance.
And so, even I am human too.





 BandH Gallery


The work of katekin resembles, at first glance, something like primitive art. There is something organic about it, like animals appearing on a mural, while simultaneously there is a certain Japanese sensibility to it - with its ink-like expressiveness and use of "pauses" and "spaces" - which lends it a kind of fusuma (Japanese sliding paper doors) painting motif.
However, when straining their eyes to examine these extremely tiny works of art, one can see that scattered throughout are animal-like and plant-like "somethings," as well as architectural "somethings" - forming a tiny yet singular sense of story.

Over the course of a normal day, katekin will come into contact with many plants and animals, and witness their lives and deaths up close. But rather than devoting a large amount of time to processing all of these emotions and information into a single work of art, because there is a need to output as many artworks as possible, katekin chooses the absolute minimal sizes and materials to work with. The reason katekin's work can somewhat resemble an action painting is for this purpose, as the artist does not pre-determine what is to be made, nor able to.

The theme of the "brain" often appears in statements by katekin.
Ever since the era of Duchamp, art has incorporated elements of ideology and philosophy.
It is not an exaggeration to say that for most works of art, there is an attempt at creating a dialogue with the audience through the form of the resulting creation. It is an act which is comparable to probing into the "brain" of the creator.
The fact that the works produced by katekin are a creative activity which leads to unknown dimensions - the artist does not even know what will emerge - leads one to surmise that these effects themselves upon the "brain" could be considered art as well. This could be one reason why these works of art can appear to resemble Rorschach tests. We anticipate that many viewers will enjoy the experience of dialoguing with their own "brains" through the art of katekin.                        

BandH Gallery


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