About

My Artwork and This Website

Today when we visit the internet world we can see countless works. I can enjoy them but at the same time, there is a sense of disappointment. There are two reasons for this.

First, to think that the world is full of so many excellent works that I do not need to dare to make my own. I am afraid to do something that may be worthless. Second, although I can find so many works, none contain the expression that I want to convey in a way that reflects my own ideas. So I decided to explore "a way to recognize and respect other various worlds and works and potentially express my own existence" on my own.

The idea of "transition of everyday life scenery " is an important component of my expression. The transition is a one-way change with time. It is not like in SF novels and movies; subjects do not go back and forth between the past, the present and the future in the blink of an eye, and they are not replaced. I think that it is possible to express the diversity of things happening both in spite of and due to the continuous flow of time.

I do not dislike the special scenes that world adventurers show, but the everyday life scenery is more important and wonderful for me. Changes in the slight climate of the tree in one's usual walking path are as interesting as the strange tree's picture in the secret world by famous photographers. The ”Strange Trees in the Secret World” never wither, never show awkwardness or even a broken blossom. But "Trees of Everyday Life Scenery" show such features generously. I feel there are meaning and beauty in the transition of the scenery by the interaction between the nature of the familiar object itself and the environment of the object's observer.

"Scenery where natural objects like plants and artifacts like buildings overlap" is a type of "everyday life scenery" that I am interested in. I am often inspired by the contrasting textures and because the two seem to live together but also in competition.

I mainly use digital cameras, computers, printers, and clear acrylic paint as the tools for my artwork production. These tools are suitable for the inclusion of objectivity like records incorporating concrete objects in expressions of sensuous and abstract concepts coming from a series of ambiguous individual interests. They are just right for me to balance subjectivity and objectivity of the subject matter in my work. For example, If I had only a brush or a pen, I would probably just draw an abstract painting. In my artwork, I often strive to express the existence of something that is recognized and familiar to society. However, in the end, I am merely trying to finish my work with intuitive, abstract ideas conceived in the creative process.

I hope that I can share my works with people who identify with them so as to inspire further creations and developments. Therefore my artwork images, processes, and information about them are showcased here. If you have any questions or opinions, please let me know by a comment, message, email, etc. Thank you for reading.

Toshiaki is a self-taught visual artist who was born in Japan and is a 12 year resident of Edmonton. Some ideas for his artwork are from his study of Japanese modern literature in Japanese university. Modern haiku gave him the idea that “Shasei” (a realistic observation of nature) is important.

He emphasizes the objects of focus by computer processing, printing out and tracing with transparent acrylic paint in matte and gloss. The process is for the observation of the world in which he is involved.

His method of expressing and presenting the observed abstract series of senses in order isa matter of linking simple messages and poetry to realize his vision of communication beyond words.

Toshiaki’s recent art activity is to observe, create and express views of everyday life in Edmonton. He participates in local art events like the Art Walk on Whyte and has donated artwork to the Edmonton Mennonite Centre for Newcomers. His latest solo exhibition was held at the Naess Gallery in Edmonton in the fall of 2017.

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