Happy Squat, 2014 / carved wood and enamel / 72 x 72 inches
Collection of the Honolulu Museum of Art
Aggression, 2011 / carved wood and enamel / 38.39 x 26.57 inches (97.5 x 67.5 cm)
Falling Flowers Road, 2011 / carved wood and enamel / 59.06 x 59.06 inches (150 x 150 cm)
Silhouette of Flowers, 2011 / carved wood and enamel / 59.06 x 110.24 inches (150 274 cm) installed
The Scene, 2009 / carved wood and enamel / 3 panels / 71.6 x 108 inches overall
Girl and Bear, 2009 / carved wood and enamel / 59 x 59 inches
Untitled (Axe), 2009 / carved wood and enamel / 21 x 8.5 inches
Bury Deep in the Ground, 2009 / carved wood and enamel / 86.6 x 96 inches
Explosion, 2008 / carved wood and enamel / 45 x 35 inches
Girl #3, 2008 / carved wood and enamel / 32 x 31 x 8.6 inches
Fling Mac, 2007 / enamel on carved wood panels / 66 x 122 inches
Kettle, 2015 / carved wood and enamel / 12 x 8 inches
Kenichi Yokono uses woodblock methodologies to address the stark contrast between traditional and contemporary Japanese culture, as well as the confluence between Western and Eastern pop cultures. Influences from manga, anime, horror movies, and other stereotypical aspects of Japanese pop culture merge to present iconic images of buoyant kawaii (or “cuteness”) in contrast with “the horror of everyday life,” according to the artist. Also referencing his longtime interest in American skate and surf culture, Yokono’s carvings often depict a “punk rock” sensibility that speaks to a desire to break outside of customary Japanese sensibilities. Although functioning woodblocks, Yokono’s works are without the conventional prints that have historically served as the final art object - rather, the woodblock itself is the art object; a subtle pushback against orthodox Japanese art-making that bridges past and present cultural realities. Similarly, Yokono demonstrates an interest in the Western art historical canon, oftentimes including elements of Dutch vanitas or still life painting in order to draw a parallel between popularized and underrepresented notions of mortality. As has been explored in more predominantly historicized art movements, Yokono embellishes upon the Japanese fascination (and celebration) of the delicate line between life and death, beauty and vulgarity, or normalcy and the bizarre. His meticulous craft maintains the primacy of the handmade object - through which the artist retains a tangible presence. These multiple oppositions in Yokono's work result in pieces that are rife with social critique and irony.
Born in 1972 (Kanazawa, Japan), Yokono was trained at the Kanazawa College of Art (Japan). He has had solo exhibitions in Tokyo, Los Angeles, Vienna and Amsterdam, among numerous international group shows at venues such as the Torrance Art Museum (CA), The Ueno Royal Museum (Tokyo), Mori Museum (Tokyo), Suzaka Manga Museum (Nagano), Hilger Contemporary (Vienna), and Joshua Liner Gallery (NY). He has participated in residencies at the McColl Center for Visual Art (NC) and the International Studio and Curatorial Program (NY), and was the recipient of the 2005 Asian Cultural Council Fellowship award, as well as the Tom Eccles Prize (NY). His work in included in the collections of the West Collection (PA), Honolulu Museum of Art, The Pigozzi Collection (NY/SWZ), and Progressive Collection (OH) among others. In addition to Mark Moore Gallery, Yokono is also represented by Micheko Galerie, a German gallery with a focus on 21st Century Art from Japan, and Unseal Contemporary (Japan). The artist lives and works in Kanazawa, Japan.
For a full biography and curriculum vitae, please click the PDF download link below.