REPORT
CHRIS’ work is characterized by his use of ‘décollage.’ In this method, ripping and tearing many layers of paper – often newspaper and magazine pages glued on canvas – exposes images from the lower layers that create an overall image. CHRIS adds to this décollage with paint and silk-screen work, and also makes high piles of the pieces of paper torn in the production to create installation work. Décollage has been practiced by many artists in contemporary art history, but what is interesting is that CHRIS encountered the technique spontaneously.
Originally a producer in a fashion brand, CHRIS began his artistic activity in 2012. In 2014 he decided to move to California, which was where he eventually came to encounter décollage. “At first, I was creating oil paintings, and I went around galleries in San Francisco trying to sell my work. It didn’t go well at all, and for about 6 months the disappointment stopped me from painting anything. I looked at the blank canvases that were lying around at home, and one day stuck on a few pages from some American comics I had picked up at a local flea market. I left it like that for a while, and the glued paper half came away from the canvas. I was frustrated by my conversations with galleries at the time, so I tore off the bit that had peeled, and the detail under the torn part suddenly looked cool.” According to him, the image had a kind of fashionable ‘cool’ or ‘flavor,’ just like a pair of jeans has whiskers and tracks. He thought he could use that element in his work, and by trial and error began to sublime the effect into his own expression.
In recent years he has worked with motifs like baseball players and comic characters using décollage. It was his childhood dream to be a baseball player or comic writer. Combining that with another of his roots, 1990s fashion, he has developed what forms his own style, out of which he creates his work.
The work created with StareReap2.5 in this exhibition develops a related motif: 15 women visiting baseball fields. In previous work he had painted women in baseball uniforms, but in these pieces they are wearing everyday clothes. “I play sandlot baseball too, and while I was producing these works I damaged a ligament. I changed from a player to a spectator. Because of that, I was not feeling into painting figures in uniform.” When he recovered and was able to walk again, however, his feeling changed. In addition to the work made with StareReap2.5, this show is also exhibiting and selling originally designed trading cards. These are of the 15 women in uniform, playing baseball as professionals. “The story is that these 15 people became baseball players, and eventually stars. The growth of these people overlaps with my own rehabilitation process, which I personally find emotional.”
Originally a producer in a fashion brand, CHRIS began his artistic activity in 2012. In 2014 he decided to move to California, which was where he eventually came to encounter décollage. “At first, I was creating oil paintings, and I went around galleries in San Francisco trying to sell my work. It didn’t go well at all, and for about 6 months the disappointment stopped me from painting anything. I looked at the blank canvases that were lying around at home, and one day stuck on a few pages from some American comics I had picked up at a local flea market. I left it like that for a while, and the glued paper half came away from the canvas. I was frustrated by my conversations with galleries at the time, so I tore off the bit that had peeled, and the detail under the torn part suddenly looked cool.” According to him, the image had a kind of fashionable ‘cool’ or ‘flavor,’ just like a pair of jeans has whiskers and tracks. He thought he could use that element in his work, and by trial and error began to sublime the effect into his own expression.
In recent years he has worked with motifs like baseball players and comic characters using décollage. It was his childhood dream to be a baseball player or comic writer. Combining that with another of his roots, 1990s fashion, he has developed what forms his own style, out of which he creates his work.
The work created with StareReap2.5 in this exhibition develops a related motif: 15 women visiting baseball fields. In previous work he had painted women in baseball uniforms, but in these pieces they are wearing everyday clothes. “I play sandlot baseball too, and while I was producing these works I damaged a ligament. I changed from a player to a spectator. Because of that, I was not feeling into painting figures in uniform.” When he recovered and was able to walk again, however, his feeling changed. In addition to the work made with StareReap2.5, this show is also exhibiting and selling originally designed trading cards. These are of the 15 women in uniform, playing baseball as professionals. “The story is that these 15 people became baseball players, and eventually stars. The growth of these people overlaps with my own rehabilitation process, which I personally find emotional.”
CHRIS’ work is characterized by his use of ‘décollage.’ In this method, ripping and tearing many layers of paper – often newspaper and magazine pages glued on canvas – exposes images from the lower layers that create an overall image. CHRIS adds to this décollage with paint and silk-screen work, and also makes high piles of the pieces of paper torn in the production to create installation work. Décollage has been practiced by many artists in contemporary art history, but what is interesting is that CHRIS encountered the technique spontaneously.
Originally a producer in a fashion brand, CHRIS began his artistic activity in 2012. In 2014 he decided to move to California, which was where he eventually came to encounter décollage. “At first, I was creating oil paintings, and I went around galleries in San Francisco trying to sell my work. It didn’t go well at all, and for about 6 months the disappointment stopped me from painting anything. I looked at the blank canvases that were lying around at home, and one day stuck on a few pages from some American comics I had picked up at a local flea market. I left it like that for a while, and the glued paper half came away from the canvas. I was frustrated by my conversations with galleries at the time, so I tore off the bit that had peeled, and the detail under the torn part suddenly looked cool.” According to him, the image had a kind of fashionable ‘cool’ or ‘flavor,’ just like a pair of jeans has whiskers and tracks. He thought he could use that element in his work, and by trial and error began to sublime the effect into his own expression.
In recent years he has worked with motifs like baseball players and comic characters using décollage. It was his childhood dream to be a baseball player or comic writer. Combining that with another of his roots, 1990s fashion, he has developed what forms his own style, out of which he creates his work.
The work created with StareReap2.5 in this exhibition develops a related motif: 15 women visiting baseball fields. In previous work he had painted women in baseball uniforms, but in these pieces they are wearing everyday clothes. “I play sandlot baseball too, and while I was producing these works I damaged a ligament. I changed from a player to a spectator. Because of that, I was not feeling into painting figures in uniform.” When he recovered and was able to walk again, however, his feeling changed. In addition to the work made with StareReap2.5, this show is also exhibiting and selling originally designed trading cards. These are of the 15 women in uniform, playing baseball as professionals. “The story is that these 15 people became baseball players, and eventually stars. The growth of these people overlaps with my own rehabilitation process, which I personally find emotional.”
Originally a producer in a fashion brand, CHRIS began his artistic activity in 2012. In 2014 he decided to move to California, which was where he eventually came to encounter décollage. “At first, I was creating oil paintings, and I went around galleries in San Francisco trying to sell my work. It didn’t go well at all, and for about 6 months the disappointment stopped me from painting anything. I looked at the blank canvases that were lying around at home, and one day stuck on a few pages from some American comics I had picked up at a local flea market. I left it like that for a while, and the glued paper half came away from the canvas. I was frustrated by my conversations with galleries at the time, so I tore off the bit that had peeled, and the detail under the torn part suddenly looked cool.” According to him, the image had a kind of fashionable ‘cool’ or ‘flavor,’ just like a pair of jeans has whiskers and tracks. He thought he could use that element in his work, and by trial and error began to sublime the effect into his own expression.
In recent years he has worked with motifs like baseball players and comic characters using décollage. It was his childhood dream to be a baseball player or comic writer. Combining that with another of his roots, 1990s fashion, he has developed what forms his own style, out of which he creates his work.
The work created with StareReap2.5 in this exhibition develops a related motif: 15 women visiting baseball fields. In previous work he had painted women in baseball uniforms, but in these pieces they are wearing everyday clothes. “I play sandlot baseball too, and while I was producing these works I damaged a ligament. I changed from a player to a spectator. Because of that, I was not feeling into painting figures in uniform.” When he recovered and was able to walk again, however, his feeling changed. In addition to the work made with StareReap2.5, this show is also exhibiting and selling originally designed trading cards. These are of the 15 women in uniform, playing baseball as professionals. “The story is that these 15 people became baseball players, and eventually stars. The growth of these people overlaps with my own rehabilitation process, which I personally find emotional.”
In his production he incorporated the technology of StareReap2.5 into the detailed elements of his work. The hair in the portraits has different levels for each part, developing a sense of depth. Part of the background shows the texture of canvas, but this is also realized by multi-dimensional printing. “StareReap2.5 applies extremely fine layers to create distinct levels. My décollage stacks layers of paper, which I tear and scratch to reveal the strata. These two artistic expressions work well coupled together, and the charm comes out in the work. The details of décollage reproduced by StareReap2.5 – the flavor, if I may – is what I want the viewers to enjoy,” explains CHRIS. “Also, the work with StareReap2.5 portrays the women at the baseball stadium, and the trading cards shows them after enormous effort, as professionals. If the audience can enjoy imagining the stories behind that process, I will be very happy.”
In his production he incorporated the technology of StareReap2.5 into the detailed elements of his work. The hair in the portraits has different levels for each part, developing a sense of depth. Part of the background shows the texture of canvas, but this is also realized by multi-dimensional printing. “StareReap2.5 applies extremely fine layers to create distinct levels. My décollage stacks layers of paper, which I tear and scratch to reveal the strata. These two artistic expressions work well coupled together, and the charm comes out in the work. The details of décollage reproduced by StareReap2.5 – the flavor, if I may – is what I want the viewers to enjoy,” explains CHRIS. “Also, the work with StareReap2.5 portrays the women at the baseball stadium, and the trading cards shows them after enormous effort, as professionals. If the audience can enjoy imagining the stories behind that process, I will be very happy.”
CHRIS creates work from the things that define what he is today, such as baseball and comics. In the background of his work, different stadiums that actually exist are depicted. He says they are based on his fieldwork research.
CHRIS creates work from the things that define what he is today, such as baseball and comics. In the background of his work, different stadiums that actually exist are depicted. He says they are based on his fieldwork research.
“The letters of the newspapers that are the material of my work and the torn paper of décollage create its flavor. I am excited for people to see how these things are replicated by StareReap2.5.”
“The letters of the newspapers that are the material of my work and the torn paper of décollage create its flavor. I am excited for people to see how these things are replicated by StareReap2.5.”
The fashion and hairstyles of the women that are the motifs of his work have features of 1990s culture. The street style of the time is one of the significant influences on CHRIS’ expression.
The fashion and hairstyles of the women that are the motifs of his work have features of 1990s culture. The street style of the time is one of the significant influences on CHRIS’ expression.
CHRIS
Born in San Francisco, US, in 1982. He began his artistic activities in 2012, and moved back to San Francisco in 2014. He is currently based in Japan, and exhibits his work in and out of the nation. His recent shows include The Meiji Jingu Forest Festival of Art (in the forest of the Meiji Shrine, 2020), ROOKIE (un petit GARAGE, 2021) and Art Fair Tokyo.
Born in San Francisco, US, in 1982. He began his artistic activities in 2012, and moved back to San Francisco in 2014. He is currently based in Japan, and exhibits his work in and out of the nation. His recent shows include The Meiji Jingu Forest Festival of Art (in the forest of the Meiji Shrine, 2020), ROOKIE (un petit GARAGE, 2021) and Art Fair Tokyo.
CHRIS
Born in San Francisco, US, in 1982. He began his artistic activities in 2012, and moved back to San Francisco in 2014. He is currently based in Japan, and exhibits his work in and out of the nation. His recent shows include The Meiji Jingu Forest Festival of Art (in the forest of the Meiji Shrine, 2020), ROOKIE (un petit GARAGE, 2021) and Art Fair Tokyo.
Born in San Francisco, US, in 1982. He began his artistic activities in 2012, and moved back to San Francisco in 2014. He is currently based in Japan, and exhibits his work in and out of the nation. His recent shows include The Meiji Jingu Forest Festival of Art (in the forest of the Meiji Shrine, 2020), ROOKIE (un petit GARAGE, 2021) and Art Fair Tokyo.