Japan is an island nation rich in timber, from cypress (Hinoki) to cedar (Sugi) to larch (Karamatsu). Its renowned woodworking heritage dates back centuries, taking the form of immaculately carved wooden beams in houses, ornate storage boxes, and revered religious statuary. For some artists working today, this timeless tradition translates perfectly into contemporary expressions.
Hand-hewn from timber, expressive faces and dynamic motifs emerge in the sculptures of Kigaku – Re(a)lize – at FUMA Contemporary Tokyo. Colossal readers may be familiar with the work of Ikuo Inada and Yoshitoshi Kanemaki, and the show also includes recent pieces by Kosuke Ikeshima, Ayako Kita, Yuta Nakazato, and Ryo Matsumoto.
Ayako Kita, “Let Go of Everything” (2024), Japanese cypress and acrylic resin, 33.5 x 20.5 x 14 centimeters
Inada’s recognizable figurative sculptures, for example, feature sleepy people, their faces often obscured by sweatshirts or blankets, as if they are wandering back to bed after a midnight snack. Kanemaki’s characteristically glitchy portraits reveal numerous faces belonging to one personality, and Kita’s bold pieces combine carved wood with clear resin, creating an optical element with dresses one can see right through.
The exhibition furthers a project initiated in 2018 called Kigaku – XYLOLOGY, which highlighted the technique of wood carving and aimed to shine a light on contemporary artists working with the medium. Kigaku – Re(a)lize – is a continuation of this mission, showcasing the work of six Japanese artists creating today.
Alongside pieces made within the past few years, Kigaku – Re(a)lize – includes examples of carved sacred sculptures from the Early Edo period (1603-1690) and the Heian period (794-1185). The exhibition continues through November 1. Find more on the gallery’s website.
Yoshitoshi Kanemaki, “Tiny Caprice” (2025), painted Japanese boxwood, 13.2 x 4.5 x 4.5 centimeters
Kosuke Ikeshima, “Vanitas” (2025), camphor wood, 29 x 27 x 11.5 centimeters
Ayako Kita, two views of “Public Self” (2023), Japanese cypress and acrylic resin, 33.5 x 20 x 16 centimeters
Yuta Nakazato, “Princess’s Whereabouts” (2025), Japanese cypress, 37 x 35 x 60 centimeters
Ryo Matsumoto, “kyojitsuhiniku, offering, broken skull-shinenshisou, kyojitsuhiniku, offering, mask” (2025), maple and camphor wood, 19 x 15 x 22 centimeters and 16 x 13 x 5 centimeters
Ikuo Inada, “Some things aren’t ‘whatever’” (2025), camphor wood, 58 x 18.5 x 18 centimeters
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