Atsushi Koyama
Undefined 23, 2016, oil on canvas, 130x97cm



Oil Paintings

Atsushi Koyama

Born in Tokyo, Japan
B.F.A., Tama Art University, Tokyo, Japan
B.Sc. Mathematics, Tokyo University of Science, Tokyo, Japan

Solo exhibition

"Corpus Reassembled." Frantic Gallery, Tokyo, Japan
"MAN MACHINE" Art Stage Singapore Art Fair 2015, Singapore
"MAN MACHINE" Tokyo Wonder Site, Tokyo, Japan
"MAN MACHINE" Makii Masaru Fine Arts, Tokyo, Japan

Group exhibition

”SCOPE New York” New York, USA
”YIA Art Fair, Paris” Paris, France
”POSITIONS Berlin Art Fair” Berlin, Germany
”New Sensibilities in Sculpture and Painting” Yeo Workshop Gillman Barracks, Singapore
"Ach,so!?" Artist House FRISE, Hamburg, Germany
"KOIME Drawings" Makii Masaru Fine Arts, Tokyo, Japan
"Ach,so!?" Makii Masaru Fine Arts, Tokyo, Japan
"Tokyo Wonder Wall" Museum of Contemporary Art Tokyo, Tokyo, Japan
"People are strange" Makii Masaru Fine Arts, Tokyo, Japan
"ART AWARD NEXT #1" Tokyo Art Club, Tokyo, Japan

I don’t transfer what I have caught and understood in my head onto a picture plane, but just draw things because I cannot digest them. I want to see the vestige of what I selected and how I drew through the working process. Thus, my artworks focus on my activity of creation.

I confirm a thing which I cannot understand just by looking at it through use of pictures and additional lines. During that process, I found that what has emerged in front of me forms an artwork. This means, I think, that there was something which had to be output from my head. I don’t need to output things if I’m satisfied with them. So, something that urged me to draw was there. I wondered whether or not this is the nature of creativity then.

The purpose of drawing is to confirm what I selected and ignored as well as in what way I depicted a thing through the output as a result of trial and error on picture plane myself; it is not to reproduce a thing on picture plane as medium to express completed image.

Whatever the motif is, I consider art to be the state of communicating with a picture plane to understand the motif and confirm my understanding of it. My interest is not to read concepts of artists' works, but is in the vestige of how they worked and what they did.


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