REPORT
Ieiri is not only the founder of CAMPFIRE, the largest crowdfunding business in Japan, and the investment fund NOW, nor just the man behind the ON THE CORNER café in Shibuya or LIBERTY HOUSE, known as “the share house that is a shelter from contemporary time”: he does not just develop various business in the online and real worlds. He has another side – that of a collector of contemporary art. The artwork he owns, known as the ‘Ieiri Collection’ includes pieces by world-famous artists such as Kenjiro Okazaki and energetic creators like TIDE and AI☆MADONNA, as well as work by Kazuki Umezawa, the artist holding a solo exhibition at the launch of the RICOH ART GALLERY. Ieiri says that Umezawa is one of his favorite artists.
Ieiri got to know Umezawa at the dawn of the era of SNS communication. They followed one another on Twitter, and after Ieiri began to visit Umezawa’s shows they deepened their communication. Looking back at his first impression of Umezawa’s work, Ieiri describes it as being “like love at first sight.”
Umezawa’s production is one of a kind. He collects images of characters from the internet to break up and recompose, then he prints them on paper, adding oils, acrylic paint and color pencils to complete an original visual world. His art brings out the atmosphere of both otaku (or ‘geek’) culture – which today attracts attention all over the world as something ‘cool’ – and fine art in the form of painting. Umezawa creates this in a natural, physical sense that is particular to the digital-native generation. This style drew Ieiri in quickly: he says “motifs such as games and animations that I am into, and elements that evoke internet memes spread across a painting work to represent a new world. That was simply fascinating.” He describes Umezawa as “a representative artist of Japan’s unique internet culture.”
“When it comes to Umezawa,” Ieiri says, “I would like to be his foremost collector. Rather than his work passing on to someone else I don’t know, I want them to come to me.” Umezawa’s work is on display in his office’s entrance area and meeting spaces.
What is the factor that leads Ieiri to buy a piece? He has been actively investing in start-up business recently, and when he invests in a business his policy is to “look at the person first.” There seems to be a common thread between that and purchasing art pieces: “Whether it is a young start-up or an entrepreneur that I invest in, or an artwork I buy, I basically do not demand a return. My position is to own the piece no matter how much it increases in value. So why do I invest in new businesses or purchase art? It is because I am interested in the kind of world they will create in the future. It is like paying a participation fee to join them. While developing in terms of in creation and exhibition, Umezawa’s work has also expanded its vision and scale. And as for the way it is going to change and the kind of world it is going to create – I am, humbly, taking part in that story.”
The exhibition ‘Image Aroundscape, Particle’ consists of new pieces that all utilize the 2.5-dimensional printing technology of RICOH – StareReap. The images created by Umezawa’s collage of visual sources have been printed in three dimensions, with thickly applied pigment, and finished by hand. Encountering the work, Ieiri simply commented “awesome” and continued to stare transfixed.
Considering the course of art history, materials and new technologies can sometimes provide artists and work with great influence. The 2.5-dimensional printing technology could, in that sense, also lead to the potential for the creation of new expression, says Ieiri, passionately. “Umezawa is a contemporary artist who can evolve with the time in his production methods and artistic style. This may be a trigger for major development in his future work. As a collector, or a participant in the artist’s story, it is incredibly exciting.”
Ieiri got to know Umezawa at the dawn of the era of SNS communication. They followed one another on Twitter, and after Ieiri began to visit Umezawa’s shows they deepened their communication. Looking back at his first impression of Umezawa’s work, Ieiri describes it as being “like love at first sight.”
Umezawa’s production is one of a kind. He collects images of characters from the internet to break up and recompose, then he prints them on paper, adding oils, acrylic paint and color pencils to complete an original visual world. His art brings out the atmosphere of both otaku (or ‘geek’) culture – which today attracts attention all over the world as something ‘cool’ – and fine art in the form of painting. Umezawa creates this in a natural, physical sense that is particular to the digital-native generation. This style drew Ieiri in quickly: he says “motifs such as games and animations that I am into, and elements that evoke internet memes spread across a painting work to represent a new world. That was simply fascinating.” He describes Umezawa as “a representative artist of Japan’s unique internet culture.”
“When it comes to Umezawa,” Ieiri says, “I would like to be his foremost collector. Rather than his work passing on to someone else I don’t know, I want them to come to me.” Umezawa’s work is on display in his office’s entrance area and meeting spaces.
What is the factor that leads Ieiri to buy a piece? He has been actively investing in start-up business recently, and when he invests in a business his policy is to “look at the person first.” There seems to be a common thread between that and purchasing art pieces: “Whether it is a young start-up or an entrepreneur that I invest in, or an artwork I buy, I basically do not demand a return. My position is to own the piece no matter how much it increases in value. So why do I invest in new businesses or purchase art? It is because I am interested in the kind of world they will create in the future. It is like paying a participation fee to join them. While developing in terms of in creation and exhibition, Umezawa’s work has also expanded its vision and scale. And as for the way it is going to change and the kind of world it is going to create – I am, humbly, taking part in that story.”
The exhibition ‘Image Aroundscape, Particle’ consists of new pieces that all utilize the 2.5-dimensional printing technology of RICOH – StareReap. The images created by Umezawa’s collage of visual sources have been printed in three dimensions, with thickly applied pigment, and finished by hand. Encountering the work, Ieiri simply commented “awesome” and continued to stare transfixed.
Considering the course of art history, materials and new technologies can sometimes provide artists and work with great influence. The 2.5-dimensional printing technology could, in that sense, also lead to the potential for the creation of new expression, says Ieiri, passionately. “Umezawa is a contemporary artist who can evolve with the time in his production methods and artistic style. This may be a trigger for major development in his future work. As a collector, or a participant in the artist’s story, it is incredibly exciting.”
Ieiri is not only the founder of CAMPFIRE, the largest crowdfunding business in Japan, and the investment fund NOW, nor just the man behind the ON THE CORNER café in Shibuya or LIBERTY HOUSE, known as “the share house that is a shelter from contemporary time”: he does not just develop various business in the online and real worlds. He has another side – that of a collector of contemporary art. The artwork he owns, known as the ‘Ieiri Collection’ includes pieces by world-famous artists such as Kenjiro Okazaki and energetic creators like TIDE and AI☆MADONNA, as well as work by Kazuki Umezawa, the artist holding a solo exhibition at the launch of the RICOH ART GALLERY. Ieiri says that Umezawa is one of his favorite artists.
Ieiri got to know Umezawa at the dawn of the era of SNS communication. They followed one another on Twitter, and after Ieiri began to visit Umezawa’s shows they deepened their communication. Looking back at his first impression of Umezawa’s work, Ieiri describes it as being “like love at first sight.”
Umezawa’s production is one of a kind. He collects images of characters from the internet to break up and recompose, then he prints them on paper, adding oils, acrylic paint and color pencils to complete an original visual world. His art brings out the atmosphere of both otaku (or ‘geek’) culture – which today attracts attention all over the world as something ‘cool’ – and fine art in the form of painting. Umezawa creates this in a natural, physical sense that is particular to the digital-native generation. This style drew Ieiri in quickly: he says “motifs such as games and animations that I am into, and elements that evoke internet memes spread across a painting work to represent a new world. That was simply fascinating.” He describes Umezawa as “a representative artist of Japan’s unique internet culture.”
“When it comes to Umezawa,” Ieiri says, “I would like to be his foremost collector. Rather than his work passing on to someone else I don’t know, I want them to come to me.” Umezawa’s work is on display in his office’s entrance area and meeting spaces.
What is the factor that leads Ieiri to buy a piece? He has been actively investing in start-up business recently, and when he invests in a business his policy is to “look at the person first.” There seems to be a common thread between that and purchasing art pieces: “Whether it is a young start-up or an entrepreneur that I invest in, or an artwork I buy, I basically do not demand a return. My position is to own the piece no matter how much it increases in value. So why do I invest in new businesses or purchase art? It is because I am interested in the kind of world they will create in the future. It is like paying a participation fee to join them. While developing in terms of in creation and exhibition, Umezawa’s work has also expanded its vision and scale. And as for the way it is going to change and the kind of world it is going to create – I am, humbly, taking part in that story.”
The exhibition ‘Image Aroundscape, Particle’ consists of new pieces that all utilize the 2.5-dimensional printing technology of RICOH – StareReap. The images created by Umezawa’s collage of visual sources have been printed in three dimensions, with thickly applied pigment, and finished by hand. Encountering the work, Ieiri simply commented “awesome” and continued to stare transfixed.
Considering the course of art history, materials and new technologies can sometimes provide artists and work with great influence. The 2.5-dimensional printing technology could, in that sense, also lead to the potential for the creation of new expression, says Ieiri, passionately. “Umezawa is a contemporary artist who can evolve with the time in his production methods and artistic style. This may be a trigger for major development in his future work. As a collector, or a participant in the artist’s story, it is incredibly exciting.”
Ieiri got to know Umezawa at the dawn of the era of SNS communication. They followed one another on Twitter, and after Ieiri began to visit Umezawa’s shows they deepened their communication. Looking back at his first impression of Umezawa’s work, Ieiri describes it as being “like love at first sight.”
Umezawa’s production is one of a kind. He collects images of characters from the internet to break up and recompose, then he prints them on paper, adding oils, acrylic paint and color pencils to complete an original visual world. His art brings out the atmosphere of both otaku (or ‘geek’) culture – which today attracts attention all over the world as something ‘cool’ – and fine art in the form of painting. Umezawa creates this in a natural, physical sense that is particular to the digital-native generation. This style drew Ieiri in quickly: he says “motifs such as games and animations that I am into, and elements that evoke internet memes spread across a painting work to represent a new world. That was simply fascinating.” He describes Umezawa as “a representative artist of Japan’s unique internet culture.”
“When it comes to Umezawa,” Ieiri says, “I would like to be his foremost collector. Rather than his work passing on to someone else I don’t know, I want them to come to me.” Umezawa’s work is on display in his office’s entrance area and meeting spaces.
What is the factor that leads Ieiri to buy a piece? He has been actively investing in start-up business recently, and when he invests in a business his policy is to “look at the person first.” There seems to be a common thread between that and purchasing art pieces: “Whether it is a young start-up or an entrepreneur that I invest in, or an artwork I buy, I basically do not demand a return. My position is to own the piece no matter how much it increases in value. So why do I invest in new businesses or purchase art? It is because I am interested in the kind of world they will create in the future. It is like paying a participation fee to join them. While developing in terms of in creation and exhibition, Umezawa’s work has also expanded its vision and scale. And as for the way it is going to change and the kind of world it is going to create – I am, humbly, taking part in that story.”
The exhibition ‘Image Aroundscape, Particle’ consists of new pieces that all utilize the 2.5-dimensional printing technology of RICOH – StareReap. The images created by Umezawa’s collage of visual sources have been printed in three dimensions, with thickly applied pigment, and finished by hand. Encountering the work, Ieiri simply commented “awesome” and continued to stare transfixed.
Considering the course of art history, materials and new technologies can sometimes provide artists and work with great influence. The 2.5-dimensional printing technology could, in that sense, also lead to the potential for the creation of new expression, says Ieiri, passionately. “Umezawa is a contemporary artist who can evolve with the time in his production methods and artistic style. This may be a trigger for major development in his future work. As a collector, or a participant in the artist’s story, it is incredibly exciting.”
Kazuma Ieiri
Born in 1978 in Fukuoka. In 2003, founded paperboy&co (currently named GMO Pepabo) – the youngest listed firm when it appeared on the stock market in 2008. In 2011, began the crowdfunding service company CAMPFIRE as representative director, and in 2012 set up the e-commerce platform BASE as co-founding director. This company was listed in 2019 at TSE Mothers Market.
https://ieiri.net
Born in 1978 in Fukuoka. In 2003, founded paperboy&co (currently named GMO Pepabo) – the youngest listed firm when it appeared on the stock market in 2008. In 2011, began the crowdfunding service company CAMPFIRE as representative director, and in 2012 set up the e-commerce platform BASE as co-founding director. This company was listed in 2019 at TSE Mothers Market.
https://ieiri.net
Kazuma Ieiri
Born in 1978 in Fukuoka. In 2003, founded paperboy&co (currently named GMO Pepabo) – the youngest listed firm when it appeared on the stock market in 2008. In 2011, began the crowdfunding service company CAMPFIRE as representative director, and in 2012 set up the e-commerce platform BASE as co-founding director. This company was listed in 2019 at TSE Mothers Market.
https://ieiri.net
Born in 1978 in Fukuoka. In 2003, founded paperboy&co (currently named GMO Pepabo) – the youngest listed firm when it appeared on the stock market in 2008. In 2011, began the crowdfunding service company CAMPFIRE as representative director, and in 2012 set up the e-commerce platform BASE as co-founding director. This company was listed in 2019 at TSE Mothers Market.
https://ieiri.net
“Umezawa’s work is collage, so there is a ‘sense’ of three-dimensionality in the two-dimensional piece. In his new pieces this is sublimated to a more physical form, which is incredible.”
“Umezawa’s work is collage, so there is a ‘sense’ of three-dimensionality in the two-dimensional piece. In his new pieces this is sublimated to a more physical form, which is incredible.”
The texture of the work, constructed with StareReap. The feeling of pixilation that is unique to digital images fills the work in its three-dimensional form.
The texture of the work, constructed with StareReap. The feeling of pixilation that is unique to digital images fills the work in its three-dimensional form.
Ieiri viewed the work prior to the exhibition: “This may be a trigger for major development in Umezawa’s future work.”
Ieiri viewed the work prior to the exhibition: “This may be a trigger for major development in Umezawa’s future work.”