Q. Welcome to u1 Gallery. Thank you so much for agreeing to this interview today. To begin, could you please introduce yourself briefly and share what inspired you to pursue a career in art?A. I first became familiar with drawing when I was in the lower grades of elementary school, around the age of seven or eight. From an early age, I was fortunate to have wonderful teachers who encouraged me, and thanks to their support, I discovered the joy of creating art. It was during high school, through meaningful encounters with my art teachers and senior students, that I decided to dedicate my life to painting. Those relationships were a great blessing for me and continue to be a major source of motivation in my creative work.
In my early to late twenties, I studied abroad in France, where I was able to immerse myself in a rich environment for art education. After completing a master’s program in Spatial Arts at the École nationale supérieure des Beaux-Arts (Grandes Écoles) in Paris, I returned to Japan. Since then, I have continued my creative practice independently, without belonging to any particular art group or association. I share my work on Instagram, participate in both domestic and international art competitions, and take part in exhibitions organized by companies and galleries, as well as hold solo shows—all while balancing other professional commitments.
Gentle Pulse 110 × 87 cm, mixed media and newspaper collage on canvas
Q. Was there a particular work or series that marked a turning point in your artistic journey? If so, I’d love to hear the story or background behind it.
A. A major turning point for me came during my high school years, when I first encountered the works of Bernard Buffet. I was deeply moved by the expressive power of his lines—so full of emotion, even though his use of color was quite restrained. That experience left a lasting impression on me and made me realize just how much could be conveyed through art. In my late teens and early twenties, I was also profoundly influenced by Paul Cézanne’s still lifes and landscapes. The sense of volume in his brushwork and the atmosphere that radiated from his landscapes truly captivated me. Cézanne’s work was a decisive factor in my decision to study art in France.
My fascination with Cézanne led me to enroll in a public art school (Beaux-Arts) in southern France, a region closely associated with him. It was there that I first experienced the vibrant energy of an open-air market (“marché”). The explosion of colors and the lively atmosphere were unlike anything I had seen before, and it completely changed my perspective on art. Having previously only experienced academic training and representational art in Japan, the marché opened a new door for me—from representation to abstraction. It gave me a sense of limitless possibilities and a newfound sense of creative freedom, allowing my practice to expand beyond painting into three-dimensional forms as well. Observing the marché also provided concrete examples of new ways to see and express objects, and the teachings and philosophy of the Bauhaus movement offered invaluable inspiration, encouraging me to continually explore and push the boundaries of my own artistic expression.
Q. I’m very interested in your creative process. Could you describe how you develop your ideas and transform them into works of art? If you have any unique methods or approaches that are particular to you, I’d love to hear about them. Also, I’m curious to know how the reactions of your audience might influence your process.
A. Currently, my work is primarily focused on abstract expression on a flat surface. I don’t limit myself to oil or watercolor paints; instead, I choose a variety of materials depending on the base I’m working with. My creative motivation often comes from things I encounter in everyday life—objects I come across by chance, the changing of the seasons and the passage of time, or emotions that arise through communication with others. These impressions, both visual and emotional, are translated into forms and colors in my work. In a sense, I would describe my paintings as “landscapes of the mind.” Depending on the piece, I sometimes incorporate collage elements such as fragments of newspaper text, pieces of cardboard, wood, or even styrofoam.
Because I pursue abstract expression, I place great importance on the titles of my works. I try to translate my thoughts and emotions onto the canvas, and ideally, I hope that the title and the artwork resonate with each other, allowing viewers to connect and share in my feelings and ideas from their own perspective.
Ten Commandments 31.5 × 40.5 cm, ink, watercolor, pastel, and conté on paper
Q. Are there any artists, movements, or particular works that have had a significant influence on your practice or artistic philosophy? I’d also love to hear how those influences are reflected in your own work.
A. A pivotal moment for me was during my high school years, when I encountered the works of Bernard Buffet. That experience inspired me to commit myself to a lifelong pursuit of art. In my late teens and early twenties, I was deeply influenced by Paul Cézanne’s still lifes and landscapes. Later, when I moved to France, the teachings and philosophy of the Bauhaus movement opened my eyes to new ways of seeing and expressing the world, and greatly broadened my perspective.
Among these influences, I was especially moved by the approaches of Wassily Kandinsky and Paul Klee. During my studies, I constantly sought to incorporate their methods into my own work, not only in painting but also through various other forms of expression. These experiences ultimately led me toward abstraction, and to this day, the concepts of “point, line, and plane” remain at the core of my visual language.
Q. Inspiration is undoubtedly an essential element for any artist. Where do you usually find inspiration, and how do you develop it into your work? If you’ve ever experienced an unexpected moment of inspiration, I’d love to hear about that as well.
A. I often find inspiration and ideas for my work in the everyday things around me—objects I encounter in daily life, impressions from interactions with people, or the changing of the seasons and the passage of time. For example, I might be inspired by the weathered surface of a wall slowly eroded over time, the patterns left by rainwater stains, or the distant lights of a city at night. Inspiration can also come from within, such as feelings of hope, anticipation, joy, sadness, or even anger. These impressions and emotions are absorbed into my mind, where they are transformed into forms and colors, and then reassembled on the canvas as I work. Sometimes, inspiration strikes completely unexpectedly—like noticing a shift in the light during a simple walk, or hearing a passing remark in conversation that sparks a new idea.
Q. When viewers encounter your work, what kinds of experiences or emotions do you hope they will have? Is there a particular message or meaning you wish to convey? Also, how do you feel when viewers interpret your work in ways that differ from your original intention?
A. Because my work is abstract in nature, I place great importance on the titles I give to each piece. Since my art originates from images within myself, I hope that viewers can connect and communicate with me through both the work and its title. The concept of “visual language” is central to my practice—I strive to express the images that arise in my mind through form and color, and I hope that these resonate with the titles I choose.
If viewers interpret my work differently from my original intention, I am happy to explain my thoughts and the meaning behind the piece, but I also welcome alternative perspectives. In fact, I believe that such diverse interpretations can be a valuable source of inspiration for my own growth as an artist.
Q. Is there a “dream project” you hope to realize in the future, or a vision you have for your career as an artist? I’d also love to hear your thoughts on recent changes in the art world, and what kind of role you hope to play within it.
A. One of my hopes is that more people will be able to experience my world of expression firsthand. Since my work is based on abstract expression, I would love to exhibit in modern, contemporary spaces—such as cafes, bars, restaurants, or even public spaces like clinics and hospitals—rather than in traditional or classical venues. My dream is not only to display paintings, but also to be involved in producing entire spaces or curating event environments.
I feel that we live in an era where boundaries are dissolving, and a diversity of values, perspectives, and free thinking are more possible than ever before. For example, when cats become a trend, artworks featuring cats as motifs become popular—showing how the times can influence the subjects of art. While I remain aware of trends, I try not to be swayed by them. Instead, I reflect on the position and meaning of my own work within this diversity, and strive to maintain my unique perspective, grounded in what I have learned and experienced so far.
SHADOW PLAY 114 × 88 cm, mixed media and text collage on wooden panel
Q. How has your work evolved over time, and are there any themes or ideas you consistently focus on in your practice? If you have a particular sensibility or philosophy that runs through your work, I’d love to hear about that as well.
A. The academic and representational training I received early on was by no means wasted; even as I moved toward abstraction through new discoveries, encounters, and realizations, I’ve come to appreciate how much that foundational education continues to underpin my approach to form and expression.
The scenes of the “marché” (market) I encountered in southern France were a turning point that led me into the world of abstraction. When I look at fruits or vegetables, each one inspires a different way of seeing and interpreting objects, and naturally brings to mind the process of theoretical abstraction. Sometimes, I discover new and beautiful forms by combining or composing organic and inorganic shapes, or by intentionally deconstructing representational imagery.
For me, expression is about “point, line, and plane,” but also about “strength and weakness, thickness and thinness, hardness and softness, light and dark, coolness and warmth.” The interplay of these elements forms the basis of my own visual language and worldview.
Q. Do you feel that the cultural, social, or environmental background in which you work has influenced your creative process or choice of themes? If there are any specific works that were inspired by your immediate surroundings, I’d love to hear about them.
A. After enrolling at a university in Paris following my time in southern France, I had many opportunities to interact with students from a wide range of nationalities, both inside and outside of school. Not only through my art, but also by encountering different ways of life, customs, and religious perspectives, I found myself constantly surprised and inspired. These experiences made the very concept of “humanity” a new source of motivation and an important theme in my work.
For several years during my studies, I focused on “humanity” as a central motif, and even after returning to Japan, I continued to create works centered on this theme for some time. Gradually, my interest shifted toward the “internal, psychological landscapes” that stem from human experience, and eventually, my attention turned to the “inner voice” that perceives and feels these emotions. This natural progression led me to my current artistic concept of “visual language.”
Floating Pathos 112 × 145.5 cm (No. 80), mixed media and newspaper collage on canvas
Q. Lastly, is there anything you would like to share with our readers that we haven’t asked about? If there is a message you would most like to convey to your audience, please feel free to share it as well.
A. I hope that my works and expressions will be freely interpreted and received in the hearts of each viewer. If the artwork and its title can resonate within someone and inspire a personal response, that alone is deeply meaningful to me.
The words “art” and “artist” are convenient and pleasant-sounding terms, even in Japanese. Like a kind of magic, anyone can use them easily, sometimes as a style or even as a form of self-expression, much like fashion. However, for me personally, whether it’s figurative or abstract, two-dimensional or three-dimensional, I believe that a solid foundation in drawing is essential for any form of creation or expression. I always try to ensure that my work contains elements that anyone can find “beautiful” or “appealing.”
Moving forward, I hope to maintain this attitude—continuing to reflect on myself, listening to my inner voice, and dedicating my life to creative work.
Contact
Artist : Hiroya Yamada
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