View All ArticlesSyoko Mihira
BIOGRAPHY
BIOGRAPHY
CV
Born in Tokyo, Japan
2016 Studied under American glass artist Zii
2016 Studied under American glass artist Zii
Award
2020 "Monstar Exhibition 2020", Excellence Award
2021 "IAG awords 2021", Honourable Mention
2021 "Independent Tokyo 2021" Special Jury Prize
2021 "IAG awords 2021", Honourable Mention
2021 "Independent Tokyo 2021" Special Jury Prize
Exhibitions
2021 Tokyo Gallery Face to face 'Five Ikimono Tales'
2021 Tokyo Spiral Gallery "SICF22" 2021 Tokyo
2022 Tokyo Isetan Shinjuku "The Power of Art" (Tokyo)
2022 Tokyo Arai Gallery, "Kowaii Exhibition" 2022 Tokyo
2022 Tokyo Gallery Dalston "Dalston Group Exhibition part1" 2022 Tokyo
2022 Tokyo Shikisaiya "Monster" (Monster)
2022 Tokyo Ginza Tsutaya "Real?
2021 Tokyo Spiral Gallery "SICF22" 2021 Tokyo
2022 Tokyo Isetan Shinjuku "The Power of Art" (Tokyo)
2022 Tokyo Arai Gallery, "Kowaii Exhibition" 2022 Tokyo
2022 Tokyo Gallery Dalston "Dalston Group Exhibition part1" 2022 Tokyo
2022 Tokyo Shikisaiya "Monster" (Monster)
2022 Tokyo Ginza Tsutaya "Real?
Artist Statement
Until a few years ago, I had been riding a street sport called BMX on a bicycle for 14 years.
In the world of street sports, where you gather with your friends in the park at night to compete, it was a world where you were highly regarded by your friends for doing tricks and moves that only you could do.
My friends were all unique individuals, and I spent many exciting days with them, with their passion for BMX and their ideas for brand new tricks.
I learnt a lot about expression and ideas from being in such an environment for so many years.
The monsters I create are modelled on things that have happened to me, complexes and people I have met in real life.
Because it happened to me, I place a lot of emphasis on 'empathy', such as 'this kind of thing happens' or 'there are people like that', and create works that have a story behind each one.
The reason why we focus on "empathy" is that in street sports, we are
In street sports, we were often cautioned by police and security guards.
This is why there was a strong sense of camaraderie amongst our peers, as we shared the same circumstances and environment, and the funny and unpleasant things that happened to us in our daily lives.
I believe that this is a manifestation of a kind of counterculture (counterculture)
I believe that the fact that my works themselves have a countercultural story is based on these past events.
I work with a technique called burnerwork, in which glass is placed in the fire of a burner, melting the glass as it is created.
I learnt the technique from Zii, a glass artist in the USA.
She is a petite black woman, but she is skilled in the technical and spiritual aspects of the art.
I learnt not only the technique for a few days, but I also learnt a lot about the mentality and way of life of people who work with glass.
The material I use is a type of tempered glass called borosilicate glass.
This glass is a material that is suitable for display and storage, as it is resistant to cracking due to tipping over or falling, and does not deteriorate over time.
It is a material suitable for exhibition and storage.
Shoko Mihira
In the world of street sports, where you gather with your friends in the park at night to compete, it was a world where you were highly regarded by your friends for doing tricks and moves that only you could do.
My friends were all unique individuals, and I spent many exciting days with them, with their passion for BMX and their ideas for brand new tricks.
I learnt a lot about expression and ideas from being in such an environment for so many years.
The monsters I create are modelled on things that have happened to me, complexes and people I have met in real life.
Because it happened to me, I place a lot of emphasis on 'empathy', such as 'this kind of thing happens' or 'there are people like that', and create works that have a story behind each one.
The reason why we focus on "empathy" is that in street sports, we are
In street sports, we were often cautioned by police and security guards.
This is why there was a strong sense of camaraderie amongst our peers, as we shared the same circumstances and environment, and the funny and unpleasant things that happened to us in our daily lives.
I believe that this is a manifestation of a kind of counterculture (counterculture)
I believe that the fact that my works themselves have a countercultural story is based on these past events.
I work with a technique called burnerwork, in which glass is placed in the fire of a burner, melting the glass as it is created.
I learnt the technique from Zii, a glass artist in the USA.
She is a petite black woman, but she is skilled in the technical and spiritual aspects of the art.
I learnt not only the technique for a few days, but I also learnt a lot about the mentality and way of life of people who work with glass.
The material I use is a type of tempered glass called borosilicate glass.
This glass is a material that is suitable for display and storage, as it is resistant to cracking due to tipping over or falling, and does not deteriorate over time.
It is a material suitable for exhibition and storage.
Shoko Mihira
