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Artist Statement

Water dripping from a forest is falling in drops while making a sound far back in the cave. It is drinkable! However, volcanism needs infinite time and energy to form a cave. Even about a piece of painting, so big things must be compressed. People: please listen to the sound! Flowing lava has made its bitten texture on the ground surface. In the same time, the lava or magma`s marking the bitten texture has also headed to the inner side and kept going straight ahead the direction infinitly. Our memories must be the same. Ammonites and charcoaled roast sweet potatoes too. -Makoto Nasu

Los Angeles food culture is fusion. Maybe my art too and it is like a carb side pond. Its ripples are spirals compounding all like angele hair pasta a giant fork lifts.

I take three hours like long distance bus ridings three times in a week. The extra-mile astro world tour is from my room to a Huntington Beach`s village via Fine Art Building a building built in Downtown Los Angeles in 1926. Coktail shaker like bus shaking shakes my eyes seeing rainbow like diversity. The lockdown evaporation rendered a drift wood into a knife stabing my ear.

Fusion is illusion, and Asian line drawing sense and painting sense come together to make fiction. Whether it is natural or unnatural, it happens as like the brains translate electromagnetic waves into colors. Lines are artificial ubiquitous hovering upon SNS and Egyptian hieroglyphs. Bears speak their language. And not normal bears use good pronounciation of German, " Mountain fire ash decorates fusion sushi." DIY is faux but it jets flow of linea characters animism and automatism curse.

Japanese Painting (Nihonga) is a modern and traditional art. It is my foundation. Their handmade paper and mineral pigment are rich primitive media. They are organic three dimensions to be used for two dimensions art. As visual art`s percassionists, not only water and ink are its zen medium. And even cardboard and acrylic is appropriate media to perform my chief artistic vocabulary which I had learned through using the rich materials. Industrial materials can be, paradoxically, better to depict the sophisticated but twisted illumination of this era in which my Japan childhood heavily soaked with comic magazines using ink and recycled pulp paper, many, many times still lasts in my identical preference. Los Angeles, the city where I live is a center of Chicano art that my preference is liking.


Tomoaki Shibata (b. 1981, Tokyo, Japan) works in a variety of media with a strong emphasis in painting. His highly expressive and visceral images reflect upon his life experiences and thoughts and destroy boundaries between high and low art. Although educated at one of Japan’s most prestigious art universities, his work is perhaps influenced more by manga and Japanese traditional and contemporary illustration filtered through his unique, emotive and guttural mode of expression. Shibata received his BFA from Musashino Art University, and currently lives and works in Los Angeles, CA after having received a Japanese national grant from the Agency for Cultural Affairs in 2015 for emerging artists. In 2018, Shibata collaborated with artist Loren Philip to produce the exhibition YEAR ONE curated by Peter Frank at Castelli Art Space. (Witten by Ichiro Irie)