1967        Born in Otsu city, Shiga, Japan
1989        Kanazawa College of Art, Ishikawa prefecture, Japan, BA in Sculpture
1998        Academy of fine Arts, Carrara, Italy, Sculpture
Lives and works in Tokyo
2009        ESLITE GALLERY, Taipei, Taiwan
2008        Tokyo Gallery + BTAP, Tokyo, Japan
2007        Art Gallery Takashimaya, Tokyo, Japan
2006        Art Salon Yutaka , Kanazawa , Japan
2003        Servis Gallery, Osaka, Japan
2002        Spazio Consolo (Marella Arte Contemporanea), Milan, Italy
               Yoshiaki Inoue Gallery, Osaka, Japan (’03, ’04, ’06, ‘08)
               Gallery Katayama, Okayama, Japan
               Kuraya Art Hall, Okayama, Japan
               Consulate General of Japan in Milan, Italy
2001        Art Gallery Takashimaya, Tokyo, Japan (’03)
               The Museum of Arts and Crafts Itami, Hyogo, Japan
               Gallery ORIE, Tokyo, Japan
2000        Gallery K, Okayama, Japan (’01, ’03, ’06)
               Atelier Suzuki, Tokyo, Japan (’01, ’02, ’04)
1998        Nagi Museum of Contemporary Art, Okayama, Japan
               SWANPLAND, Regensburg, Germany
1997        Le stanze del Teatro Guglielmi, Massa, Italy
2008        "Collection II 'shell – shelter'," 21st Century Museum of Contemporary Art, 
                Kanazawa, Japan
               "Milestones," Tokyo Gallery + BTAP, Beijing , China
               "Figurative : Personified Shapes," TSUKUBA Museum of ,Ibaraki, Japan
2007        "Crafts Galelry 30th Anniversary Exhibition II – The Power of Crafts:

                Outlook for the 21st  Century," The National Museum of Modern Art,

                Crafts Gallery, Tokyo, Japan
               "BTAP 5th Anniversary – Works in progress," Tokyo Gallery + BTAP,

                Beijing, China
               "Japanese Contemporary," Gallery SUN contemporary, Seoul, Korea
               "Field of Now," Ginza, Tokyo
2006        "Japanimation," Tokyo Gallery + BTAP, Beijing, China
2005        "Alternative Paradise," 21st Century Museum of Contemporary Art, Kanazawa, Japan
2004        D.L Arte, Milan, Italy
               "37th Premio Vasto," Museum Civici, Vasto, Italy
                Galleria Annovi, Sassuolo, Italy
2001        Galleria Gagliardi, San Gimignano, Italy
               "NIPPON," Palagio di Parte Guelf sala Burunelleschi, Firenze, Italy
1999        "MUTAZIONE," Regensburg, Germany
1998        "Senzatitolo," Sala Riunioni Circoscrizione, Carrara, Italy
1997        "Nove artisti in Carrara," Atelier Artivisive Ass. Cult., Carrara, Italy
               "Saturnalia," Centro Culturale Mercurio, Viareggio, Italy
1996        "Eccoci," Lido di Camaiore, Italy
               "96 Miniartextil Como," Como, Italy
1994        "3rd Pietra Lavorata," Castel San Niccolò, Italy
21st Century Museum of Contemporary Art, Kanazawa, Japan 
Tsuyama City, Japan
Camaiore, Italy



Hiroto Kitagawa – A New Look in Sculpture in Contemporary Japanese Culture

By André Lee


Known for his hand molded terracotta sculptures of the human form, Japanese artist Hiroto Kitagawa’s use of elongation of the human body in his works is reminiscent of the classical Italian sculptural masters’ pursuit of the ideal proportion, yet deep within these works resides a soul that is thoroughly Japanese, an amalgamation of classical European and Japanese manga and anime styles that reflect the artist’s academic journey from Japan to Italy.

Anime and manga styles certainly may be the first impression of many upon viewing Kitagawa’s works but that actually does not fully do justice to the depictions of the fashionable men and women that his hand turn out. In particular, his sculptures exhibit an outstanding feel and rich texture entirely apart from the one-dimensional character sought in anime and manga. His complex, multifaceted blend of the Eastern and the Western, the classical and modern, the realist and abstractionist brings forth a uniquely contemporary Japanese aesthetic. Kitagawa’s deft handling of the emotional and actual human nature not only informs the meticulous detailing of the hairstyles, clothing, shoes and accessories exhibited in his works, it also draws a clear boundary between his work and the hypothetical symbolism of the worlds of anime and manga.

Regardless of the fact that the urban subjects of Kitagawa’s sculpture have by all outward manner and appearance grown up in an age of plenty, and despite their beautifully fashionable and youthful appearance, hidden within the facial expressions and body posture, for all their graceful elegance, a vague gloominess, alienation, dissatisfaction and unease is revealed. And the helplessness and uncertainty manifest on their faces is a pointed expression of vexation of a generation of young Japanese fallen victim to the bubble economy, a youthful example illustrative of Japan’s lost generation.

Born in 1967 in Otsu City in Japan’s Shiga Prefecture, Kitagawa became enamored of Italian sculpture of the human form while a student of sculpture at Kanazawa College of Art and resolved to head for Europe for further study. To further his ambition to study in Italy, he took a job as a manual laborer in a factory. In 1990 he finally realized his dream of studying in Italy; but by the end of the first year he had already run though all the funds he had worked so hard to save. For the next eight years he would spend six months in Japan working to save money then head back to Italy for six months of study, eventually triumphing with completion of his academic program at the Academy of Fine Arts in Carrara.

His commitment to his artistic ideals helped stiffen Kitagawa’s resolve in overcoming myriad difficulties during his overseas studies and also served as the impetus behind setting the exploration of the real essence of humanity as his artistic objective. In an age where memorial-style sculpture and installation pieces are popular in Japanese contemporary art, he decided to go with non-mainstream sculptures of people in terracotta media and after years of effort he has definitely succeeded in blending classical sculpture with his own individual touch and feeling to bring about a new look in modern sculpture. Although he has certainly taken some cues from European artists like Giuliano Vangi, Alberto Giacometti, Marino Marini and Giacomo Manzu, whether in terms of content, texture, expressive technique or attitude, Kitagawa’s works not only depart from the Western arts milieu, they compose a kind of new contemporary multicultural composite look.

Starting with terracotta, Kitagawa gradually moves beyond the limitations of the frame and sculpture, using super realist sculptures of people to establish for himself a unique position within the world of Japanese contemporary art.

2009        ESLITE GALLERY, Taipei, Taiwan

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