Whitestone Gallery Ginza is pleased to present "Decorative Man," a solo exhibition by Kohei Kyomori, on display at both our New and Main galleries.

Born into a family of dairy farmers in a depopulated region of Ehime, Kyomori confesses, "I had a strong sense of inferiority about my upbringing." His elementary school had fewer than 30 students in total, and his village had only a single small shop. His parents made their living tending livestock, and his childhood home included a cattle shed, called a "daya," which carried the smell of manure. As he grew up, Kyomori gradually came to compare his surroundings with the world he saw on television screens and in the lives of those around him, developing a deep sense of shame. Eventually, as if severing ties with his hometown, he aspired to enter the creative worlds of fashion and design, moving to Tokyo and later studying in Italy. Upon returning to Japan, he began working as a designer in Tokyo.

The exhibition title, "Decorative Man," literally translates to "a man who decorates." It reflects Kyomori's personal history, shaped by the asymmetry of information, culture, and industry between rural and urban areas, which led to his own identity crisis. The exhibition is structured in two parts: on the first floor, "The Adorned World" presents paintings, installations, and videos depicting an individual embellishing himself, clumsily attempting to blend into society.

On the second floor, "The Concealed World" reveals the insecurities hidden beneath ornamentation. By rigorously exploring the simple act of "decorating = concealing," Kyomori's work does not merely share his personal experiences. In today’s complex post-internet communication landscape and increasingly fragmented consumer systems, people are constantly subjected to the relative evaluation of self and others—consciously or unconsciously. As a result, individuals risk losing their agency, becoming cast into homogenized identities. Kyomori raises the question: Is the act of "decorating = concealing" an unavoidable part of human nature as social beings? This exhibition seeks to share that awareness.

Kyomori describes his perspective on decoration as follows: "Ornamentation is both a social gesture and language that expresses a social position and worldview. On a personal level, it serves as a way to embellish one’s image and conceal insecurities." His previous two-dimensional works are characterized by meticulous craftsmanship and vibrant colors, reflecting his experience in graphic design and fashion—fields that create an immediate visual impact. However, when viewed alongside his upbringing, a unique aesthetic emerges that is inseparable from his roots. For Kyomori, constructing surfaces (as visual objects) and using vivid colors are, in a way, consequences of perceptual disruption—acts that obscure himself from the gaze of others and manipulate the image he presents. In other words, at the core of his work lies a struggle with identity, where "to decorate is to conceal."