Yoshio Ikezaki

Exclusive Artist

Kylin Gallery has been established to encourage cultural cross-fertility through education, marketing, and, most especially, presentation of and support for art and artists that consciously “build bridges” between East and West. By opening in Beverly Hills, Kylin Gallery has targeted the Pacific Ocean as the body of water it will span with its metaphorical bridge. But this spirit of bridge-building will lead the gallery in all appropriate directions. Its program will feature art by Eastern and Western artists alike who look across the geographic and aesthetic divides in order to marry and merge idea and practice. The results will be not simply hybrid, but fused: in the art at Kylin, it will be hard to tell where one civilization leaves off and the other comes in, but it will be easy to see that both are present.

Yoshio Ikezaki

Yoshio Ikezaki

He was born in Kitakyushu City in 1953. He received  a BA and a MFA from Florida State University concentrating in painting. Then he went back to Japan and intensively studied traditional Japanese paper making with Shigemi and shigeyuki Matsuo, master papermakers in Yame , Fukuoka , Japan. He had spent 6 years with them, learning and experimenting  papers for his own painting and sculpture. He creates paper for his own artworks in order to control uniform thickness and fiber distribution taking ink’s reaction to the paper into account and creating a ratio of different fiber materials.

Since 1986, He has been living both US and Japan, exhibiting his artwork throughout the world , including U.S.A, Europe, Japan, and Asia in museums and galleries.

He has also taught as a professor at Art Center College of Design, Southern California Institute of Architecture, visiting professor at Musashino Art University, special lecturer at Tama Art University in Tokyo. He has also lectured at Cooper Union, Pratt Art Institute, The Parson school of Design in New York and Rhode Island school of Design in Rhode Island among others.

In his sumi ink painting, the images are deeply associated with the memories of landscapes he saw during his childhood in Kitakyushu island Japan. He visualizes them as if they were slow -moving photographs. To him, there are no man-made objects, but all natural elements like water,earth, light, wind, and moon etc.He shares that experience with his audience through his art as all human beings have experienced similar  memories to some degree.

Ikezaki’s painting images are mysterious and evocative. this enigmatic quality is derived partly from the fact that he mixes his own ink, including in it mineral particles that give the surface of the painting a slight iridescence. The result is a kinetic composition, lending the piece different dynamic as at the viewer moves around it. The truly incredible thing about the way his works is that he never physically paints with his hands. Having mastered his own “Chi”( the Chinese word for the vital  life source that exists within every one of us), he uses that energy to move the ink across the paper.

For his sculpture, He first cook Kozo bark(mulberry fiber) with soda ash for a few hours and beat them after rising with clear water. He uses Japanese traditional paper making technique called”Nagashizuki”, translated as “sloshing way to make paper”, to form a sheet of paper. Each sculpture is about 50-200 sheets accumulated on top of each other and pressed with several hundreds of pounds of weight to make the layers condensed and hard for 2 or more weeks. he seeds the handmade paper as human skin and spirit . Each sculptural composition deals with the philosophical idea of Zen Buddhism thought of “Shogyou- Mujo”- everything on earth evolves, change, and perishes but spirit remains to reborn a new life.

He says” his wish to capture a trace of the enormous energy collision that happens in nature, miracle of lives being born, the changing environments and mysterious living thing that settles deep within me, as well as on the paper, with the memories of the fiber. “

His recent sumi ink paintings and sculptures deeply show a evidence of his intension to uniform and meet “East and West”, a coalescence of Western modern and Japan tradition. He expresses the fusion with “Ma” , Japanese aesthetic term to designate an artificially placed interval in time and space which include meaningful voids created by the deliberate use of blank space. The balance and unification between positive and negative space is the essential theme of his abstract landscape painting and his handmade paper sculptures


2016                  Kylin Gallery, Beverly Hills, CA, U.S.A

                          Sophia Paper Art Festival , Sophia, Bulgaria

2015                  Janina Monkute-Marks Museum, Lithuania

                          Kitakyushu City Museum of Art, Kitakyushu, Japan

                          Fukuoka Prefectural Art Museum, Fukuoka, Japan

                          LA Art Show, Convention Center,  Los Angeles, CA, U.S.A

                          Capital Art Fair, Washington DC. U.S.A

2014                       Musee Jean Lucat Comtemporaine, Angers ,France

                          Deutsches textile Museum Krefeld-Linn, Krefeld, Germany

                          Cleveland Museum of Art  Cleveland , U.S.A

2013                  San Fransisco Museum of Art . U.S.A

2012                  Fukuoka City Museum of Art, Fukuoka Japan

                          International Art Fair in Miami. Miami, Florida. U.S.A

                          Heather James Fine Art, Palm Desert, CA, U.S.A

2011            Musée Jean Lurçat et de la Tapisserie Contemporaine,  Angers, France

                          Deutsches Textil museum Krefeld-Linn, Krefeld, Germany

                          Kanagawa Prefectural Museum Kanagawa, Japan.

                          National Museum of Costa Rica, San Jose, Costa Rica

                          Janina Monkute-Marks Museum-Gallery, Kėdainiai, Lithuania

                          Heather James Fine Art, Palm Desert, CA, U.S.A

2010                  Heather James Fine Art, Palm Desert, CA, U.S.A

2009                Lithuania Fiber Art Biennial, Kaunas, Lithuania

                          Musashino Art University, Tokyo, Japan

2008                  Asia Museum, Fukuoka, Japan

                          Art Fair Amsterdam, Amsterdam, Holland

                          Patricia faure Gallery. Santa Monia, CA, U.S.A

                          Shinjuku Takashimaya Gallery, Tokyo, Japan

                          Manhattan Beach Art Center, Manhattan Beach, CA, U.S.A

2007               Fukuoka Prefectural Museum of Art, Fukuoka, Japan.

                          Palos Verdes Art Center, Palos Verdes, CA, U.S.A

                          Kitakyushu City Museum of Art, Kitakyushu, Japan

2006                  Galerie Jos Art, Amsterdam, Holland

2004               Eastern Center of Art and Culture Museum  Burapha University, Thailand

                          Museum Rijswijk, Rijswijk, Holland

                          LA Art Core retrospective. Los Angeles, CA, U.S.A

2001                  Fukuoka Prefectural Museum of Art, Fukuoka, Japan

                          Kitakyushu City Museum of Art, Kitakyushu, Japan

                          Japan Exposition, Kitakyushu, Japan

1996                  Asian Pacific Museum, Pasadena, CA U.S.A

1995                  Tachikawa Art Festival, Tokyo, Japan

1988                   Kitakyushu City Museum of Art, Kitakyushu, Japan

                           Art Center College of Design, Pasadena CA. U.S.A

1986                   Kitakyushu City Museum of Art, Kitakyushu, Japan

                           Conejo Valley Museum, Thousand Oaks, CA, U.S.A.

1984               Fukuoka City Museum of Art, Fukuoka, Japan

                           Shimonoseki city Museum of art , Yamaguchi Japan

1983               Kitakyushu City Museum of Art, Kitakyushu, Japan

                           Fukuoka City Museum of Art, Fukuoka, Japan

1981                   Oita Prefectural Museum, Oita, japan

                           Ishibashi Museum , Kurume , Japan