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Hiroko Yoshida

BIOGRAPHY

BIOGRAPHY

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1973 Born in Wakayama
1997 Graduated from Tokyo University of the Arts, Department of Painting (Japanese Painting)
2000 Completed postgraduate studies at Tokyo University of the Arts (majoring in art education)
2003 Completed Doctoral programme in Art Education, Tokyo University of the Arts
Solo Exhibitions
1997 Wakayama Tokyu Inn, Gallery Castle (Wakayama City)
2001 Avalome Kinokuni, Gallery Ryumon (Wakayama/'03/'05/'08)
2003 Ishikawa Gallery (Tokyo/'05/'09/'14)
Tokyo University of the Arts Chenretsukan (Tokyo/Ueno)
2007 Toubi Art Fair (Tokyo Bijutsu Club/'09/'11/'15)
2015 ART BUSAN (Busan/'16) KIM BO SUNG ART CENTER (Seoul)
2016 U space Gallery (Taipei/Taiwan)
Group Exhibitions
2010 Art Award Next #1 (Tokyo Bijutsu Club)
Two Artists Exhibition: Akihiro Fujimoto [wood sculpture] and Hiroki Yoshida [Japanese painting] (Seibu Numazu)
　　　　 Art expo 2010 (Malaysia/'18)
2011 Ginza Gallery Art Fair (Daimaru Shinsaibashi)
2013 Wakayama Prefecture Cultural Award 50th Anniversary Exhibition (Museum of Modern Art, Wakayama)
2014 Bank Art Fair (Singapore/'15)
2015 Infinity Japan 2015 (Taiwan/'16/'17/'18/'19)
2017 Art international Zurich (Switzerland/'18)
2018 Art Fair Tokyo 2018 (Tokyo International Forum)
2019 ART FAIR ASIA FUKUOKA 2019 (Fukuoka Mitsukoshi booth)
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Fascinated by the unique material of Japanese painting, Yoshida pursues the beauty of gold leaf expression. Yoshida is an up-and-coming painter who pursues the beauty of gold leaf expression. Yoshida graduated from the Department of Painting at Tokyo University of the Arts. For his master's thesis at Tokyo University of the Arts, he wrote a book titled "Japanese Painting in the Future The possibility of gold leaf expression in Japanese painting in the future - with a focus on Sotatsu's works", which he wrote for his master's thesis at the same university, won the Salon de Printemps Prize and other awards. He is a painter who has both logical support and exploration with an eye on tradition. He is a painter who has both a logical basis and a quest for tradition. Yoshida, who asks what makes Japanese-style painting Japanese-style painting? Yoshida does not see iwa-eguru and gold leaf as mere materials for expression. Yoshida does not see iwa-egur and gold leaf as mere materials for expression, but tries to touch the inevitability of expression that has been born in the long history of Japanese painting, and at the same time, to disclose its modernity.

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