Mayuka Yamamoto - Child-Like Portraits Across The River Of Time

Odile Chen / Ravenel Quarterly No. 42 (Spring 2023)

The Sellout Artist

Launched in December 2006, the renowned Japanese magazine "Art Collectors'" started off as a biweekly publication featuring antiques, contemporary art, and other collectibles information. The Art Collectors' not only reports artwork prices and primary market updates, but also represents artists from its contracting galleries. Other than Japan, the magazine also recommends Asian artists from China, Taiwan, and Hong Kong in relation to developments in Japan's art market. It's changed to be monthly magazine since May release in 2011, the Art Collectors' first introduced the "The Sellout Artists" special to its 61st issue in 2014, which provides a useful guide to best-selling artists with 80%-100% of sales in the preceding year. The "Sold-Out Artist" on the cover of the February 2023 issue of Art Collectors' is Mayuka Yamamoto's artwork Yellow Desk–this reveals the artist's best-selling performance in the previous year.

Yamamoto's nostalgic art style has impressed the famous Hong Kong actor Tony Leung, who had specially flown to Gallery Tsubaki in Tokyo amid the pandemic. The photograph of the actor and artist before Yellow Desk suggests Leung is one of the Yamamoto's collectors. The photo was shared on Facebook by Gallery Tsubaki's owner and the artist on May 10, 2022 before it quickly spread across online communities. In the painting, the boy's nostalgic eyes somewhat resemble the famous actor's childhood appearance. Leung also shared a fun photo of him wearing a bear head hat recently.

Throwback the year 2022, Yamamoto has held at least three solo exhibitions in collaboration with various galleries and expos. Some examples included solo exhibitions at Gallery Woo (Busan) in January, Gallery Tsubaki (Tokyo) in July, GR Gallery (New York) in December, two joint exhibitions at Corey Helford Gallery (Los Angeles), as well as international art expos such as Kiaf Seoul (Seoul), Art Taipei (Taipei), and Art Miami (Miami). The artist also released limited edition Pink Monster and Blue Monster figures, as well as Whisky wine labels. Yamamoto is undoubtedly well-deserved for the title of the year's sellout artist in the primary market.

Aside from her sold-out record in the primary market, Yamamoto's artworks also achieved excellent performance in recent auctions, the secondary market. After making her first auction sale at Christie's Hong Kong in the fall of 2007, Yamamoto held a solo exhibition at the Netherlands' Canvas International Art in the same year while she also attended art fairs in New York and the Netherlands. Since then, her works have occasionally appeared at auction houses across Asia for a relatively steady price. It was not until the 2020 fall auction did Yamamoto's artwork prices start to spike quickly. The market speculates that the transition of Yamamoto's boy characters to more adorable, wide-eyed images in recent artworks is in line with the popular trend for cute art in the international market. That is why Yamamoto's paintings became popular pieces with exponential price increases.

According to data analysis by Artprice.com, the global auction market showcased 19 pieces of Yamamoto's artworks in 2021, 12 of which were oil paintings. The annual turnover was US $771,765 (approximately NTD $23.15 million, commission not included). At Ravenel Taipei's fall auction that year, the painting titled And the Boat Ships on was sold for US $281,385 (NTD $7.80 million, commission included)—a record-breaking price that exceeded the low estimate by as many as four times. Compared to the previous year, Yamamoto's auction turnover increased by 208% in 2022, reaching US $2,380,792 (approximately NTD $71.42 million, commission not included)." The transaction quantity was 56 artworks, 34 of which were oil paintings.

A closer look at the statistics between 2000 and 2023 (precisely 2007-2023, latest update on February 15, 2023), the auction turnover of Yamamoto's works was ranked in the following order by the regional distribution of auction houses: highest turnover in Hong Kong with a cumulative amount of US $1,527,221 (NTD $45.82 million, commission not included); second highest turnover in Taiwan with US $1,258,211 (NTD $37.75 million, commission not included); third highest in South Korea with US $572,617 (NTD $ 17.18 million, commission not included). The cumulative total for 2022 was approximately US $3,950,453 (NTD 118.51 million, commission not included).

Animal Boys. Reflections of Oneself and No One Else

Yamamoto has come to prominence in recent years, especially after she adopted a brighter combination of colors. The artist's release of prints and artistic figures made her a highly popular target among young collectors. For over twenty years, Yamamoto has been drawing mysterious child characters who either wear animal costumes on their heads or display stripe patterns or animal arms. These "animal boys" have captured the attention of many collectors.

Why is Yamamoto so passionate about drawing children? The artist reflected on her long-time childhood memories, "As a kid, I have always wanted to escape from anxiety and immerse myself in kindness. That is why I draw children wearing animal costumes to create an integrated image." Yamamoto's paintings convey a sense of sadness despite the adorable atmosphere. There is actually a child in everyone, although the child image may be disguised by grown-ups and the animals imply close, intimate connections. Some of the hidden childhood memories are sweet and funny, yet the bitter and painful ones can only be healed by time. Yamamoto preserves her childhood nostalgia by repeatedly drawing these paintings.

Yamamoto's early artworks were characterized by a somewhat depressive and oppressive style that often touched on the theme of life and death. She chose the image of little boys who do not exist in reality as the ideal theme in her paintings. The boys' silent look, adult-like expression, and story-filled eyes are reflections of the artist's unique soul. Yamamoto's paintings present a sense of temptation that brings viewers into her illusionary world.

A Lonely Child from Okayama Castle

Yamamoto was born in Japan's Okayama Prefecture in 1964. As the hometown of folklore hero Momotaro, Okayama is a historical mountain city that produces luxury fruits such as white peaches and grapes. In 1964, Tokyo hosted the Olympic games for the first time when massive railway construction and full-power economic development served as a turning point for Japan's rapid economic growth. The success of the 1964 Tokyo Olympics not only transformed Japan's image as a defeated nation but also rebuilt the faith of its people. In the previous year, the premiere of Osamu Tezuka's Astro Boy on Fuji TV reflected the Japanese people's hopes and visions for the future. By applying cultural branding and removing the label of cheap goods, Japanese enterprises strived to advance and create added values, promoting transformed Japanese brands to the world. By 1968, Japan's economic aggregate had exceeded Germany as the second largest economy next to the United States.

As Japan's economy took off, Yamamoto's parents also had to work to make a living. This social phenomenon has deprived this generation of Japanese children of parental care. Another example is Yoshitomo Nara, who was five years older than Yamamoto as he also grew up in a lonely household. While presenting one of her artworks, Yamamoto recalled, "I have a certain memory of when I was young; my parents always worked very hard, but Christmas was our family time together at home. It was a special day. Even now, when I smell the candles on a Christmas cake, my heart returns to my childhood as clear as if it were yesterday." (An excerpt from the exhibition introduction of GR Gallery.)

"It has been a long time since I was born, but those memories never flowed like a movie clip or musical melody. They seemed to be preserved in specific settings. A simple scene such as a flower or a smashed ladybug is paired with indescribable feelings that either soothed me or surprised me. These scenes do not come across my mind when I go grocery shopping or watch baseball games on TV. They only come when I am empty-minded. I thought about them, and I think this is how it works." (An excerpt from the artist's statement in the 2000 Japanese Print-Making encyclopedia)

These sentimental words expressed the unspeakable feelings and nostalgia in the artist's memories. "My artworks are based on personal experiences because I perceive art as an expression of small, private "events" rather than big decisions." "When I look at my own works, I feel somewhat sad, hopeful, and happy at the same time." These similar contexts reflect typical Japanese characteristics: elegance, modesty, perseverance, persistence, oppression, and caution. The qualities of such self-exploration are expressed silently through art creations.

From Printmaking to Oil Painting– Self-Pursuit in the UK

After graduated from high school in the 1980s, Yamanoto went school to Musashino Art University with a major in printmaking, graduated in 1990. Yamamoto held solo exhibitions at Tokyo's Ai Gallery and Gallery21+Yo in 1992. In the early days of her career, the artist focused on monochromatic portraits and prints that have a high standard for physique and outlines. After collaborating with Gallery Tsubaki on the New Expression in Print joint exhibition in 1992, the gallery organized Yamamoto's first solo exhibition in 1993 in recognition of her performance. Since then, Yamamoto has partnered with Gallery Tsubaki for three decades as they held solo and joint exhibitions annually in Osaka, Okayama, Gunma, and Fukuoka.

Other than gallery exhibitions, Yamamoto had also participated in the 1994 Modern Printing Exhibition at Shibuya's Shoto Museum of Art and the 1996 Modern Tokyo Printing Exhibition at Machida City Museum of Graphic Arts. She has also been nominated by the Prints Annual in recognition of her achievements in printmaking. However, the artist decided to change path from printmaking to oil painting in her middle ages. As she described, "I have always expressed my ideas through carving and printing, but those outlines no longer attract me as they start to look artificial." Yamamoto does not consider herself as a real printmaker. By transitioning to oil paintings, she is only switching to a different method of creation.

Since Yamamoto perceives painting as a fundamental hobby that eases her worries, the choice of media does not really matter. The artist has not completely given up on printmaking as she still occasionally creates some prints, but oil painting is a more flexible means of creation. Whether printmaking or oil painting, Yamamoto's early creations mostly adopted low color saturations that conveyed a sense of oppression and tension from the artist's relationship with her mother. According to Yamamoto, "I wanted to try some things that do not look healing. I wanted to draw unbalanced, contemplative images." The artist debuted her oil paintings at Gallery Tsubaki in March 1998. In Laughing Mother, the white outlines depict a woman's hair and featureless face on a grayish green background. The earth tones demonstrate an oppressive emotion and unclear facial expression.

Between 1998 and 1999, Yamamoto participated in the Overseas Artist Placement Program held by Japan's Agency for Cultural Affairs, by which she studied in the UK for one year. Having no idea about how to start creating art during this time, Yamamoto went to see exhibitions in search of inspiration and opportunities with interpretation assistance from her husband. Immersed in art creations from all over the world, Yamamoto was specifically attracted to the works by South African artist Marlene Dumas and artist duo Gilbert & George. Yamamoto was impressed and influenced by the unsettling and strange atmosphere in their paintings.

As the British writer Deborah Nicholls-Lee once said, "Sensuous but cerebral, cruel but tender – Dumas's work has overturned the aesthetic of portraiture, stripping back the veneer to reveal something loathsome and visceral but also sublime." The distortion and contradiction of life in her paintings were fascinating to Yamamoto. On the other hand, the challenges against traditional art, curiosity and focus on modern art, and enriched methods of expression in Gilbert & George's works have awakened Yamamoto's rebellious instincts inside.

The Dazzling Style of Yamamoto Mayuka

After returning to Japan from the UK, Yamamoto's painting style began to shift under the influence of Marlene Dumas and Gilbert & George. In terms of color arrangements, the use of a pale blue-green color tone added more depth to her portraits. Gilbert & George often explored the question of nihility and existence by creating expressive tension through expressionless portraits.

Based on the simple outlines in her previous prints and portraits, Yamamoto applied a transparent color tone to her oil paintings. Art critics have described her paintings to be filled with "an infinitely transparent blue, which is the color of childhood wonder and nostalgia." Yamamoto agreed that azure is her favorite color. She had imagined herself eating a poisonous mushroom and being able to see a beautiful world where everything is blue. Yamamoto gave birth to a daughter in 2001. The hardship, physical and psychological changes during pregnancy and child raising have inspired the artist to reflect on her own infancy and relationship with her mother.

After becoming a mother, Yamamoto created the "Animal Boy" in 2002. The character's pale and anxious eyes in the painting seem to seek answers from viewers. The nostalgic, ambiguous boy under the animal costume exists in dream-like memories. As Yamamoto wrote in the catalog of the Blue Flowers exhibition in 2009, "I embed elements in my works that can make people a little dizzy. If it works on me, hopefully views should feel the same."

During her daughter's infancy, Yamamoto often carried the baby on her back while working. She could only start by drawing small drafts approximately 45.5 x 33.3cm (size 8P). When the baby fell asleep, she would carefully examine the drafts and magnify them to proper sizes–often 130.3 x 97cm (size 60P). This is why Yamamoto always has the same compositions available in different sizes. She kept this habit of creation until now even after her daughter grew up.

Yamamoto is favored by international galleries and collectors as she becomes more famous. Now she lives and works in her studio in Gunma Prefecture, which is not too far from Tokyo. Perhaps alcohol is an important element in easing the stress of life and work, Yamamoto claimed that she had to drink one bottle of liquor every day before she announced her decision to quit drinking on Facebook. Although she enjoys painting, Yamamoto said her acrophobia prevents her from creating large oil paintings high above the ground. In 2022, she created a rare, large-scale oil painting (size 150) in response to an exhibition request.

Yamamoto's largest oil paintings at auction houses were in size 150. There are six such paintings, while the exact number created by Yamamoto remains to be confirmed. Currently the artist's highest auction record is for And the Boat Ships on , one of the rare size 150M (145.5 x 227.3cm) paintings created in 2010, featuring an ocean view with natural landscapes, characters, and animals. Apart from this rare piece of work, most of the artist's high priced artworks feature adorable wide-eyed characters (created after 2015). The collectors find this adorable style to be favored by stressful urbanites. Other than oil paintings, Yamamoto still occasionally creates prints. In response to small value collectors' demands in 2019, the artist launched limited edition color prints that were immediately sold out upon release. Galleries had to make a draw due to the exceedingly high number of orders and inquiries. The highest auction record for prints is currently NTD $312,000 (US $11,255) from a transaction at Ravenel Taipei in fall, 2021. This price is close to that of size 60 oil paintings before 2019, demonstrating the artist's high level of popularity.

Yamamoto is among the list of artists named by "Hot Lots: 5 Female Artists Art Buyers Adored at Hong Kong's Autumn Day Sales"–an article published by Artnet News on December 8, 2022. The Appendix of this article "Top 20 Most Expensive Artworks of Mayuka Yamamoto Ever Sold at Auction" reveals that 17 of the records were sold in 2022. Despite a previous emphasis on male artists, female artists have gradually come to prominence in the art market with the modern rise in ethnic and gender awareness. Artists such as Rokkaku Ayako and Mayuka Yamamoto are in the process of becoming "blue chip artists." No wonder Yamamoto is the cover artist of the February 2023 issue of Art Collectors'. We look forward to seeing Yamamoto's brilliant works in both the primary and secondary markets in 2023.