Vibrant colors, textures, and radiant movements built upon solid structure - the works of Masayuki Tsubota form an image while changing flexibly its expressions according to the viewpoint: density and playfulness are combined in a decent way stirring up the space. Selected materials like wood, stone, mineral pigments, which are closely related to the climate and natural features, blur their boundaries and mutually erode. Being breathed new life, these materials appeal to five senses of the viewer resonating with the realm of memory or sensibility that has been almost forgotten. This state of resonance is the origin of communication as well as the beginning of deep understanding that will be expanded beyond time and space. This is the very essence of the art of Tsubota.

The artist majored in sculpture at the Osaka University of Arts, and received a master's degree.

Born in 1980 in Osaka, Riyoo Kim completed Master of Fine Arts course at the Osaka University of Arts in 2006, and is currently active in Kanagawa and Shiga Prefecture. Influenced by ancient ritual vessels such as Jomon earthenware and bronze vessels, Kim has garnered attention for his works that move back and forth between art and craft, reinterpreting elements from science fiction movies, robot animation, street culture, and music in his own way.

The golden texture and iridescent glaze like contemporary Tenmoku are reminiscent of metal at first glance, and they radiate a strong presence with the unique formative features. One of his significant works, the mono-eye series is expressed in order to look into “invisible matters” and “formless volumes such as the ego.” The artist also focuses on the relationship between living and beauty. While exploring the “Japanese tea ceremony” in the modern age, Kim pursues his original ceramic expression by fusing the tea ceremony with works.

Recently, he has also been involved in installation projects based on Jomon culture and mythological worldviews. As a result, Riyoo Kim is expanding his field of career further, aiming to create earthenware that will remain in the future, 10,000 years from now, by integrating images of the past and present. In addition to solo exhibitions in Japan and other large events including Yokohama Triennale, he has participated in various shows, competitions, and art fairs in many overseas countries such as Korea, Hong Kong, France, the United States, Singapore, Malaysia.

Madara Manji, originally from Tokyo, relocated to Kyoto to study under a toreutic master, driven by his aspiration to become an artist. He actively expands his skills in various metal-processing techniques, consistently pushing the boundaries of his craft. Manji’s mastery of Mokume-gane, a traditional Japanese metalworking technique, positions him as a pioneer in utilising this ancient craft for artistic creation. Mokume-gane, dating back to the early Edo period, involves layering different metals to form patterns on Samurai swords. Although the technique had nearly vanished over time due to its complex and time-consuming nature, recent collections and studies have revived its prominence on the world stage. Manji, in particular, stands out as one of the first to embrace this traditional craft as a means of artistic expression.

In his series titled Uncovered Cube, Manji presents seemingly identical cubes that subtly differ, each representing distinct facets of human nature. Through his art, Manji explores humanity and the essence of materials, transcending the conventional three-dimensional realm. By employing the consistent forging process of Mokume-gane, he examines the limitations of integrating multimedia elements and the coexistence of diverse human experiences. His art provides a platform for exploring various aspects of humanity from a unique perspective. He collects his observations and insights, which often challenge conventional notions, and compiles them into a personal notebook. This collection reflects contradictions and recurring thoughts about the essence of humanity.