在大阪藝術大學獲得學士和B.F.A.學位後，
坪田昌之(1976- ) 用木頭和鋁創造了一系列雕塑，並以巧妙的刮削和拋光介質、以及鮮豔的色彩創造了統一的效果。作品的潛在意義正正賦予了雕塑多維度及機關。抽象的紋理和圖案促使觀者以不同的方式重新體驗看似熟悉的視覺 (Déjà-vu)。

坪田相信顏色總是以超現象的方式存在於周圍，它滲透我們的夢想、影響我們的意識/潛意識。 在這個節奏迅速的資訊時代，我 們有時淘汰了對訴於顏色的需求;又或許我 們忽略了某些重要的東西。 而坪田的回憶 ，正是無法通過物理感覺表達的藝術品。

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.

1988年出生於東京的斑萬字，為學習鍛金技術作為創作的基礎，高中畢業後隨即前往京都，於鍛金師的門下擔任學徒數年，扎根學習各種金屬的加工技術之後，立志成為藝術家，持續自學並開始發表創作。

斑萬字擅長運用稱之為「木目金」（Mokume-gane）的日本傳統鍛金技術，創作出簡潔、具現代感的立體雕塑。木目金的發展始於約四百年前的江戶時代初期，層疊多種金屬打造出精緻的花紋，裝飾在武士的刀劍上，兼具美感與權勢的象徵。隨著武士文化式微，做工繁瑣且費力費時的木目金技術近乎失傳於世，近年受到國際美術館的收藏與研究，才又重新受到關注，而斑萬字更是率先將此傳統工藝技術作為藝術創作手法的先驅。

過著極為簡樸的生活，斑萬字利用最基本的工具，反覆敲擊琢磨金、銀、銅、黃銅等多種非鐵金屬材料，日積月累打造出物質本身不相融合，卻相織出美麗的紋理，猶如每個人的內心世界中，都有無法相容的思考或感情，在瀕臨極限邊緣，一面互相衝突與抗衡，一面成長前進，而這樣的矛盾與超越不僅止於個人內心，亦存在於個人與他人之間，個人與社會之間，這也就是人類的生存之美。

「裸立方 (Uncovered Cube)」系列作品雕塑，看似形狀相似的各個面向，實則具備纖細差異，藝術家藉由立方體表現出人類本身具有的多方樣貌。探究人性與物質本性的創作方向，從立體延伸至平面，應用木目金的鍛造手法過程，在一如往常地敲擊下，探討軟硬剛柔迥異的多種媒材相互之間的融合極限與並存關係，投射藝術家對於人性本質相異的反向思索體悟，累積成他充滿矛盾與反覆詰問自己的人間觀察筆記。