The world of Kimura Masahiko depicted in "Kunikyuni". Expressed through a prism of light. "Listening Museum #15"
"HERALBONY TONE FROM MUSEUM ~Listening Museum~" is a podcast that focuses on artists contracted to the welfare experimental company Heralbony.
Sara Ogawa, an actor, filmmaker, and writer, and Takaya Matsuda, CEO of HERALBONY, will be the interviewers. As they listen carefully to the art, they will touch upon the personality and life story of this "unique artist" that can be seen beyond his work.
Our guests this time are Masahiko Kimura, who creates his own unique style with strong pressure from colored pencils, and Nakajima from "Atelier Yahho!!". How did the pattern known as "Kunikyuni", which is synonymous with Kimura's work, come about? We will be joined by Fumito, the twin brother of Takaya, who is the vice president of "Atelier Yahho!!" and was shocked when he visited the studio, to find out the secret.
# I love variety shows
Masahiko Kimura "Seal"
Takaya: Today we have invited an artist called Masahiko Kimura from a welfare facility in Kyoto called "Atelier Yahho!!" He creates his works while looking at photographs.
Ogawa: Actually, I saw your work in person at a recent Heralbony event. It has lots of intricate patterns.
Takaya: That's right. For example, the piece I have in front of me called "Seal" looks like a seal from a distance, but when you look at it up close, it has all sorts of different patterns, like a mosaic. There are a bunch of patterns that look like the letter "E" lined up, and these patterns are actually called "kyunikyuni."
Ogawa: Squeak squeak?
Takaya: Yes. I would like to hear some secrets about that "Kunikyuni."
Fumito: Yeah, I'd like to hear it.
Ogawa: That has a nice ring to it. But when I saw the work up close, I stared at it and wondered, "What is this pattern?" But when I stepped back and looked at it, I realized it was a seal.
Takaya: That's right.
Ogawa: It was really interesting to see how it changed completely depending on the perspective.
Takaya: That's right. At first you're surprised, thinking "Huh? Oh? It's a seal!", but then you gradually start to understand the piece.
Fumito: That's right. They are works that can be enjoyed in completely different ways.
Ogawa: This seal has a certain dignity to it. It's really beautiful.
Fumito: It has a sense of weight to it.
Ogawa: So, today I'm connected remotely with Kimura Masahiko and Nakashima-san from "Atelier Yahho!!" Thank you for your time.
Nakashima-san: Thank you very much.
Kimura: Thank you very much.
Ogawa: The background of your two remote screens today is really cool, what about this one?
Kimura-san: A picture of Perfume. A picture of "Blue Train"!
Masahiko Kimura "Blue Train"
Ogawa: Wow! Nakajima's background is Perfume, and Kimura's background is "Blue Train." Does this mean that both of them are things that Kimura loves?
Nakashima-san: Yes. Kim-san, is it okay? Can I talk?
Takaya: Kimura-san is showing us!
Masahiko Kimura "Perfume 2"
Nakajima: I just asked him what kind of picture he would like (as a background for a remote shoot), and he said "Blue Train."
Ogawa: Wow. Do you like Perfume too?
Nakajima: Kimura, are you saying that yourself?
Kimura: I'll say it myself.
Nakajima: Yes, yes.
Kimura: I love Perfume!
Ogawa: Wow! What do you like about it?
Kimura: Later
Ogawa: I like Nocchi!
Takaya: You like other people besides Nocchi, don't you? Comedy, for example. HG, for example.
Kimura: Shizuru.
Ogawa: Shizuru!
Takaya: Kimura-san, you met Dashizuru-san recently on a different radio show!
Fumito: I see. You like Shizuru. You like Tamori too, right?
Kimura: Tamori-san.
Fumito: Hey.
Kimura: Tamori-san!
Nakajima: There are also works by Tamori. There are also works from "Buratamori".
Takaya: My brother also loves "Buratamori."
Nakajima: "Waratte Iitomo!" and things like that.
Fumito: It's good that he seems to really like it. It shows that he really likes it.
Ogawa: Many of the writers who have appeared on Tamori's podcasts so far have said they like him, and his older brother Shota (of Takaya and Fumito) is also a fan, so is there something about him that draws you in?
Takaya: Right. Why do you like Tamori?
Kimura: It's okay to laugh.
Nakajima: You just mentioned "Waratte Iitomo!", and I love variety shows, so I was hosting something like that, and I think I used to be able to watch "Waratte Iitomo" every day.
Kimura: Yes.
Nakajima-san: At that time, I was searching for something to say to myself and would say the whole story from the very beginning of "Waratte Iitomo!", starting from the part where the "Iitomo Youth Corps" appeared. It was already an hour-long version.
Ogawa: What? It will be recreated.
Nakajima: It's a reproduction.
Takaya: Amazing...
Masahiko Kimura "Waratte Iitomo"
Nakajima-san: Kimura-san has a few jokes like that. I don't know if they're really jokes or what... (laughs).
Takaya: Ahahaha!
Nakajima-san: I always think that you like variety shows, so you probably like Tamori-san too. And the music show. Was that one with Tamori-san on it too?
Kimura: Tamori-san.
Nakajima: So maybe I like Tamori because he appears on my favorite TV show. Yes.
Ogawa: Generally, are there many things that you like to draw?
Kimura: Quickly, yeah...
Nakajima: Speaking for him, I always ask Kimura what he wants to draw next, and sometimes it comes to mind, but sometimes he doesn't have much hope. If I ask him about his favorite musician or celebrity, it comes to mind, but if I say it vaguely, it doesn't come to mind. He said he wanted to draw an animal, so I gathered up pictures of various animals and he chose the seal from among them. Yes. We often decide together.
Takaya: I think the most notable thing about Kimura's work is the pressure of the brush. When you look at it up close, you can see that he has used incredible pressure, so it looks like he is shining a little, like a jewel. Here's a quiz for Sara: do you know what art material this "Kunikyuni" was made with?
Ogawa: What is that? Paint or something?
Takaya: It's not paint. Masahiko, what are you using to draw this?
Kimura: No, a pencil.
Ogawa: Wow! Can you get that much depth with colored pencils?!
Takaya: That's right! He draws with colored pencils, applying a lot of pressure to create these pictures.
Ogawa: Amazing...
Nakajima-san: Because I use a lot of pressure, thin paper would tear, so I use very thick paper. I use oil-based colored pencils, so people say the colors look better, and they often mistake my drawings for oil paintings.
Fumito: Ah!
Takaya: I understand.
Ogawa: It's about as thick as a drop of ink.
Nakajima-san: It has that kind of profound feel to it.
Ogawa: That's true. If you put that much effort into your drawings, does that mean it takes a long time to complete one piece?
Nakajima-san: (To Kimura-san) How long will it take? For the usual size of the painting.
Kimura: It's big.
Fumito: Ah, he's using his hands to show the size.
Nakajima-san: How about one week, two weeks, or three weeks?
Kimura: Absolutely, yes.
Nakajima-san: Yes. About three weeks, I think.
Takaya: That's really fast.
Nakajima: It seems like things have sped up recently, but I still put a lot of effort into some of them, and it depends on the motif and the detail involved, so even a small piece takes about three weeks.
# The Mystery of Kyunikyuni
Fumito: What was the inspiration behind the creation of "Kunikyuni"?
Nakajima-san: I've heard that from him. Mr. Kimura, you know, you always have that pattern, right? "Kunikyuni". Do you get it?
Kimura: I understand.
Nakajima-san: Why was that born?
Kimura: ...A chair.
Takaya: A chair?
Nakajima-san: What? A chair?
Kimura: One week!
Fumito: Born in a week?
Kimura: Three weeks!
Nakajima: I'll speak for you later, what Kimura-san thinks. I was a pottery instructor, so we did pottery together at first. At that time, I was digging the soil with a needle. I started drawing because I thought the patterns were interesting, but when I look at them now, the things I drew on the pottery and the things I draw with colored pencils now look like cells, wedge patterns, and prisms of light, and critics have said all sorts of things to me. Recently, I've been drawing on printed out materials, so I wonder if the dots of the printing ink are visible. But he doesn't always tell me. I don't know.
Takaya: Oh, I'd like to know more.
Nakajima-san: Kimura-san, please teach us today!
Ogawa: What does “Kunikyuni” mean?
(Kimura-san shows something.)
Fumito: He showed us how he drew "Kunikyuni."
Nakajima-san: What is that?
Kimura: Prism
Nakajima: Well, what I said before has been happening again and again (laughs).
Takaya: I’m curious.
Kimura-san: Prism! I drew it, I drew it.
Nakajima: That's right. I drew it. As someone who is beside her, I wonder if "Kunikyuni" might disappear. It doesn't necessarily last forever. When I think about it, I suddenly feel sad, but for now, I think it's always going on.
Ogawa: By the way, when did this "Kunikyuni" come out?
Nakajima: "Atelier Yahho!!" has been running since 2008, but it didn't exist in the beginning. This pattern. It really started appearing in the 5th or 10th work, and in the work "Blue Train" that appears behind Kimura as a virtual background, the pattern is so detailed that you can't see it unless you look closely, but recently it has become a little bigger. Even though it's "Kunikyuni", there are a lot of changes.
Ogawa: Indeed, you can see something that looks like "Kunikyuni" on the side of the train behind and around Perfume's arms.
Takaya: What made you decide to join Atelier Yahhoo!!?
Nakajima: (To Kimura) Why did you come to Fushimi Gakuen?
Kimura: Fushimi Gakuen.
Nakajima-san: The parent organization of "Atelier Yahho!!" is Fushimi Gakuen, and Kimura-san came here right after graduating from school. I heard from his mother that he had originally been doing pottery at school, and that he was chosen because he could do pottery at home.
Takaya: Kimura's works are very popular, and once they are on sale, they are quickly shipped off. Recently, we exhibited a large number of Kimura's works at the Marui Group's general shareholders' meeting, and the Marui Group purchased some of them. We are now using that design for the face of the Heralbony card. The one with the Akamon gate at Fushimi Inari Shrine. Thank you, Kimura.
Masahiko Kimura "Fushimi Inari Red Gate"
Kimura: Thank you.
Ogawa: This was Fushimi Inari!
Takaya: That's right. It's from Akamon. If you search for "Heralbony Cards" you will find details about the work.
Nakajima: It's close to my studio, so I draw a lot of things there every day, and this is just one of the things I draw.
Fumito: We were talking about pottery earlier, but when you saw the wedge patterns that Kimura had carved turn into paintings, were you shocked and like "What is this!?"
Nakajima: I wasn't like, "What is this?" (laughs), but I think the work in front of the Blue Train was titled "Seasonal Ingredients" and had a lot of ingredients lined up, and you might be able to find it on the internet. It really made me think, "What is this?" I drew it from a photo, but the fish and vegetables were drawn so fresh that my mother even told me not to sell them. That work just suddenly came to me.
Masahiko Kimura "Seasonal Ingredients"
Takaya: I see. Yes, Mr. Kimura's works really do sell out quickly, so we have to sell them carefully too.
# Visiting the Kyoto Atelier
Fumito: Mr. Kimura, how is it going with your work selling? How is it reaching so many different people?
Kimura: Is it selling?
Takaya: Yes.
Kimura: It's selling well!
Nakajima-san: It's selling well (laughs). How do you feel?
Kimura: I drew it!
Nakajima: His family is happy with it, and it's been displayed in various places, so I'm sure he will be happy too.
Ogawa: Have you been drawing since you were little?
Nakajima: Outside of art classes at school, I went to an art space in Higashiyama, Kyoto, about once a month. I think I was about 10 years old. I'm not sure, but I think I went there. I used paints and stuff. I started painting seriously after coming to "Atelier Yahho!!" Now I paint from Monday to Friday as a job.
Fumito: I heard you also do pottery.
Nakajima-san: Well, I've been a bit busy with pottery (laughs).
Takaya: Ahahaha!
Nakajima-san: The staff needs to apply the glaze at the end, so it's hard to find time for that... But actually, today I'm firing it for the first time in several years. But it's really been that long since I last did it.
Takaya: If given the chance, I would love to sell pottery at HERALBONY!
Fumito: Yes, yes.
Nakajima: Actually, a few days ago, I found a matcha bowl that Kimura made a long time ago. I wonder if it's worth a lot of money now (laughs). Back then, it was about 5,000 yen. I was like, "This is not worth that much!" (laughs).
Takaya: That's true! Mr. Kimura's works are also getting more and more expensive. You went to his studio in Kyoto, right? What was your initial impression?
Fumito: When I first went there, the atmosphere at "Atelier Yaho!!" was really homey, including the artists and staff. Every time I go there, I get the strong feeling that the atmosphere at "Atelier Yaho!!" creates an environment that makes it easy for artists to create.
Nakajima: For some reason, many people say that to me, and I'm most grateful for that. We have about 15 people who actually create, and since we're not that big, it feels like a home, but everyone is free and does what they really like. Some people sleep, some do something completely different, and we just watch over them, and we don't have any particular rules about what they should do. That's probably why it feels so homey, or that there's a unique atmosphere. Also, we play music the most, and I've been doing that for over 10 years now? It's also my hobby, but I play all kinds of music that everyone likes. No one seems to dislike it, and I wonder if we've created a culture that's a little easier to create? I'm trying and testing it.
Ogawa: Atelier Yahoo!!, do you do a lot of other things besides just drawing pictures?
Nakajima-san: What else do you do? Besides drawing.
Kimura: Crane. A picture of an origami crane.
Nakajima-san: Drawing. I'm drawing a picture of a paper crane right now.
Fumito: Wow! I'm looking forward to that too.
Kimura-san: Serve the food. Serve the food!
Nakajima-san: Oh, he's here. He's serving the food. Everyone is eating school lunch, so he's serving the food.
Kimura: Spring cleaning and stretching!
Ogawa: It's important.
Nakajima-san: I do a lot of different things. Serving food, clearing the table, that's right. Also, until a few years ago, I was cleaning the stables at a nearby riding club. I really love horses.
Fumito: It's cool!
Ogawa: And do you also like music?
Nakajima-san: What kind of music do you like? Anything is fine.
Kimura: Violin!
Takaya: That's wonderful!
Nakajima-san: The reason why I mentioned the violin may be because an instructor from outside comes and we sometimes hear violin performances. Maybe that's what he said as a continuation of what he said earlier about cleaning. This is the first time I've heard that I like the violin. I was a fan of classical music.
Kimura: Classic!
Nakajima-san: Yes. I'll be playing classical music from now on too (laughs).
Ogawa: A wide range, from Perfume to classical music.
Nakajima: All-round.
Takaya: What is your favorite thing, Kimura-san?
Kimura: ...A seal.
Takaya: Seals! Awesome.
Nakajima: Seals? I've never heard of that before! There's music too. Of all the places you want to go, what's your favorite thing? What is it?
Kimura: Dance.
Fumito: Do you also dance?
(Kimura-san dances)
Ogawa: Oh, they're dancing.
Takaya: Good dance.
Nakajima: Maybe she's dancing to Perfume at home.
(Kimura-san strikes a pose)
Nakajima-san: It looks good. It's coming out great.
Takaya: It's almost frustrating that it's on radio!
(Kimura continues dancing)
Fumito: It won't stop! Kimura-san won't stop!
Ogawa: A sense of dynamism.
Nakajima: Next time, I'd like to dance together with Perfume, all four of us .
Ogawa: What about you, Nakajima? Do you have any memorable episodes from your time together with Kimura?
Nakajima: I can't think of a single best one right away, but when I take him to various events where he is invited, he gets nervous at first, but then he gets used to the situation and suddenly says something that gets a laugh or is funny. If you just keep drawing, you don't have many opportunities to meet other people, so I think Kimura has changed by interacting with people in various places.
Takaya: So you can see Kimura's artworks soon, right? We are selling the original artworks at a pop-up called "Isai no Hyakkaten" at Nihonbashi Mitsukoshi (currently closed).
Ogawa: I want people to see Kimura's work in person! Really! I want people to see it in person and feel how it changes depending on the distance.
Fumito: Yes. Kyuni Kyuni is decorating one of Japan's leading department stores, so please check it out.
Takaya: This time, you will be able to see the works "Seal" and "Sharaku." Kimura's favorite animal in the world, the seal, will be on display, so we hope you will come.
Masahiko Kimura "Sharaku 3"
Ogawa: "Sharaku" is cool too!
Takaya: It's really cool. I'm 100% sure it will sell.
Ogawa: There are lots of little kyuni-kyuni on Sharaku's face, and the way they create a gradation is really cool.
Takaya: Absolutely. You're absolutely right. Even with the same blue, you create different shading in "Kunikyuni." You're truly a magician.
Ogawa: Mr. Kimura, how did you draw this "Sharaku"?
Kimura: Sharaku.
Nakajima-san: Do you remember this? Why did you draw "Sharaku"?
(Kimura-san is making some kind of gesture.)
Fumito: Maybe he's drawing it.
Nakajima: This is my third Sharaku work. The first one is not that detailed, but it has a "Kunikyuni" drawn on it, and the second one has a little "Kunikyuni" in it like a tattoo. The third one is a recent work, but it was made about five years ago, and it is a very colorful work. Even though it's called Sharaku, it looks like a completely different work.
Masahiko Kimura "Sharaku"
Ogawa: Is there anything you would like to try in the future?
Nakajima-san: What would you like to try?
Kimura: What? Umm, Sharaku!
Takaya: The fourth installment!
Kimura: One more time!
Nakajima: He said he wants to draw it again.
Fumito: If you could draw it for me, I'd love to make a reservation for it!
Takaya: We look forward to your continued support of Sharaku!
Ogawa: Now that I think about it, there are other HERALBONY contracted artists at Atelier Yahho!!, right?
Takaya: That's right. I think he'll appear in this podcast from now on. An artist called Higo is very popular at the moment. Higo's works are wonderful, with colorful green patterns that look like watercolors that have been dropped. These are now being made into cushions, bottles, and other forms. Also, an artist called Kokubo, whose work I also own, uses oil pastels and paints with strong, sloppy pressure. There are really a lot of wonderful artists out there.
Ogawa: I look forward to working with you in the future. So today, I spoke with Kimura Masahiko and Nakajima from "Atelier Yahho!!" Thank you very much!
Kimura: Thank you very much.
Nakajima-san: Thank you very much.
Text by Tomoyo Akasaka
Masahiko Kimura
He belongs to Atelier Yahho!! (Fushimi-ku, Kyoto). He uses strong pressure with his brush and has created a unique wedge-shaped pattern called Kyunikyuni. This gives his paintings a sense of depth and three-dimensionality. His paintings range from animals to still lifes, but each one stands out with his unique style. His works are highly acclaimed both in Japan and overseas, but he himself is unconcerned with the noise of the outside world.
"HERALBONY TONE FROM MUSEUM ~Listening Museum~" is now available for free
Based on the concept of "imagining the history of an unconventional artist through his art," this program listens closely to the art and touches upon the personality and life story of one "unconventional artist" that can be seen beyond his work.
The two MCs are Sara Ogawa, an actor, filmmaker and writer, and Takaya Matsuda, CEO of HERALBONY. Each episode focuses on a writer under contract with HERALBONY, and welcomes intellectually disabled writers, their families and welfare facility staff as guests.
It is available every Sunday on Apple Podcasts, Google Podcasts, Spotify, and Amazon Music.
You can also enjoy back issues for free.
