The World Through His Unique Filter: Yuichi Hirako's Exploration of the Relationship Between Humans and Nature

 Odile Chen / Ravenel Quarterly No. 48 / 2024-09-26

Surrounded by Nature

In August, Okayama in Japan transitions into early autumn, though the summer heat still lingers, and the vibrant greenery remains. The Nagi Museum of Contemporary Art (Nagi MOCA), an iconic landmark in Okayama designed by the world-renowned architect Isozaki Arata in 1994, stands as a public art museum that merges art with architecture. It is currently hosting an exhibition titled "Ideal Landscape." According to the press release, this is the largest exhibition ever held in Okayama, and it marks an important solo show for the 42-year-old Japanese artist Yuichi Hirako, who, after gaining international acclaim, returns to his hometown to exhibit. The show features Hirako's signature "treeman" and his world, along with large-scale works depicting mountains, rivers, and lakes, exploring the human-created idealized landscapes.

Yuichi Hirako was born on September 20, 1982, in a rural area of Okayama, which is known as the "Land of Fruits" and "Sunny Country" due to its rich natural resources and beautiful scenery. Hirako believes that the natural environment of Okayama deeply influenced his long-standing focus on the relationship between nature and humans in his art. His childhood memories are filled with images of fields and greenery, with mountains in the distance, and a life surrounded by nature seemed entirely natural. The richness of the natural world and its closeness to people have always nourished his soul, symbolizing home and the origin of life. 

Before his exhibition at the Nagi Museum of Contemporary Art this year, Hirako had just wrapped up a solo show titled "New Home" at Gallery Baton in Hannam-dong, Seoul, South Korea. In this exhibition, he explored the idea of an ideal future world, questioning its feasibility and offering a critical perspective. This was not Hirako’s first exhibition in Korea; as an internationally acclaimed artist, his work has been displayed in major cities across the globe. One notable example is his 2023 collaboration with the Hermès flagship store in Central, Hong Kong. Hirako designed the store’s Christmas light installation, transforming the building’s exterior into a golden, festive forest. This installation featured six tree-shaped sculptures in the window display, embodying the spirit of the season while showcasing Hirako’s signature "tree people." The Kanji for "forest" ( 森 ), composed of three "tree" ( 木 ) characters, added a playful and symbolic touch, seamlessly blending Christmas tradition with Hirako’s unique artistic vision. Hermès, known for partnering with leading contemporary artists whose creativity aligns with the brand's innovative ethos, received widespread acclaim for this collaboration, with Hirako’s work quickly becoming a favorite backdrop for public photos and a celebrated feature of the holiday season.

International Acclaim and Over a Decade of and Over a Decade of Continuous Exhibitions Continuous Exhibitions
 
Over the years, Yuichi Hirako has held numerous solo exhibitions at major galleries, including prominent commercial galleries in Tokyo such as Kotaro Nukaga Gallery, Waiting Room, Dai-ichi Life Gallery, and hpgrp Gallery. Additionally, Hirako has exhibited in major Asian cities, with notable solo shows at Gallery Baton in Seoul (2021, 2024), and Space K in Korea Kolon Culture (2023). In Taipei, YIRI ARTS/BACK_Y (2016, 2018, 2022), which has collaborated with Hirako for over ten years, remains one of his longest-standing gallery partners. He has also exhibited at Warehouse Gallery in Hong Kong (2020) and in Southeast Asia at The Drawing Room in the Philippines and Singapore (2013). His work has reached even further into Europe with exhibitions at Zerp Galerie in Rotterdam (2019) and Galleri Christoffer Egelund in Copenhagen (2014, 2017), as well as in the United States at Fouladi Projects in San Francisco (2016). These exhibitions over the past decade have tracked the evolution of Hirako’s artistic career.

Hirako’s works have also been featured in group exhibitions at renowned museums, including the Nerima Art Museum (2022), Powerlong Museum in Shanghai (2021), Sakura City Museum of Art, Opera City Art Gallery in Tokyo (2018), the Museum of Contemporary Art Tokyo (2010), Ueno Royal Museum, and The Museum of Modern Art, Gunma (2010). These museum exhibitions have contributed to enhancing his academic standing as an artist.

Hirako has received numerous awards, such as the Shell Art Award (2009), the Tokyo Wonder Wall Award at the Museum of Contemporary Art Tokyo (2010), the VOCA Encouragement Prize at the Ueno Royal Museum (2013), and the Mr. I Prize (Ito Kensuke Award) in Okayama, which supports emerging artists (2020).

In terms of public collections, Hirako’s works have been acquired by prestigious institutions including the Lisser ArtMuseum and AkzoNobel Art Foundation in the Netherlands, the Jean Pigozzi Collection in Switzerland, The Dai-ichi Life Insurance Company in Japan, and several in China, including the Long Museum, Powerlong Museum, By Art Matters, and Modern Media. His works are also part of collections in South Korea, such as U.PINE MED and Kolon Culture Space K. These acquisitions confirm Hirako’s growing international reputation and market prominence.

The Influence of Studying in the UK on Hirako's The Influence of Studying in the UK on Hirako's Curiosity About Artificial Nature Curiosity About Artificial Nature

Yuichi Hirako currently lives and works in Tokyo. Reflecting on his background and artistic career, he grew up in Japan during a turbulent economic period. In the late 1980s, Japan faced the impact of the bursting of the economic bubble, which led to a stock market crash and industrial decline. By the early 1990s, Japan's once- miraculous economy came to a sudden halt, marking the start of the "Lost Thirty Years." With an aging population becoming more of a challenge, society as a whole began to experience feelings of powerlessness and disillusionment. Young people from rural areas had to move to cities for opportunities or even seek them abroad. 

Shortly after graduating high school, at the age of 18, Hirako moved to London to study and begin exploring his future. In 2006, he graduated from Wimbledon College of Arts in the UK with a Bachelor of Arts (Hons) degree in Fine Art: Painting. Wimbledon College of Arts, part of the University of the Arts London, is highly ranked among UK art schools, second only to the Royal College of Art. The University of the Arts London is renowned across Europe for its fine arts and theater arts education and operates as a federal university made up of seven prestigious schools, including the London College of Communication, London College of Fashion, Camberwell College of Arts, Chelsea College of Arts, Wimbledon College of Arts, Central Saint Martins, and the Creative Computing Institute.

While studying in the UK, Hirako noticed that London had many large parks, which were frequently packed with people on weekends. He also observed ornamental plants, street trees, and small parks along the roadsides. Though these were all man-made landscapes, city residents enjoyed these artificial forms of nature. These intriguing phenomena sparked his interest in the relationship between humans and the natural environment.

In his work, Hirako began to explore nature, depicting fairytale-like forest worlds filled with birds, insects, flowers, trees, and buildings, creating a theatrical atmosphere. Over time, he felt that human involvement should also play a role, with human behavior interacting with plants or nature in ways that produced interesting effects.

Hirako's creations blend childhood memories, life experiences from his time studying abroad, and reflections on contemporary societal conditions and concerns. Gradually, his work evolved into worlds filled with wild branches, flowers, trees, books, vases, potted plants, musical instruments, vehicles, boats, tools, animals, and various traces of human life. These scenes resemble "urban jungles," but also feel like "jungles within cities." At first glance, his work seems to depict natural forests, but upon closer inspection, it reveals that everything is part of a deliberately crafted landscape. Critics suggest that Hirako is expressing the idea that "humans can never truly be urbanized; we are fundamentally unable to abandon nature."

Kodoma? Treeman?
 
In Yuichi Hirako's early works, the tone was darker, imbued with a sense of sacredness and awe for the universe. Critics have suggested that the artist drew inspiration from the Japanese Shinto legend of "Kodama" ( こ だ ま ), creating his iconic "Treeman" figure. According to ancient legends, forests are home to spirits or tree gods, which can move freely and swiftly. What appear to be ordinary trees possess mysterious powers, and the trees inhabited by these spirits are known as "Kodama."

Kodama are protected beings that, in turn, safeguard the forest, becoming one with the trees. Cutting down a tree inhabited by a Kodama is believed to bring misfortune. The image of Kodama originates from the animistic beliefs of Shinto tradition, and it frequently appears in Japanese literature, anime, and other art forms. Interestingly, similar concepts exist in ancient Chinese culture, where reverence for old trees, mountain gods, and the natural world has been passed down through the ages and remains a part of contemporary folk customs.

Hirako's creations consistently explore the relationship between humans and nature. In a 2020 interview with the magazine Bijutsutecho, Hirako mentioned a pencil drawing he had exhibited for his graduation show. Reflecting on it, he said, "While I was at school, I was trying a lot of things, so it was hard to pinpoint the theme. One of the drawings I was making for my last graduation project was one that depicts a landscape of plants and artificial objects. As I delved into this drawing, I came to appreciate the theme of plants and humans."

Breaking the Boundaries of Space: A Fusion of 2D and 3D Works A Fusion of 2D and 3D Works
 
After returning to Japan, Yuichi Hirako realized that his painting style resembled Fauvism, prompting him to recognize the importance of using bold colors. He also saw the need to expand the size and scale of his paintings. When working, he refrains from stretching the canvas over a frame, as he dislikes the elasticity when the brush meets the canvas. Instead, he directly adheres the canvas to the wall, allowing him to apply force more freely. His exploration of the relationship between plants and humans became even more dynamic as the size of his canvases increased, amplifying their impact.

Around 2013, he began expanding his work into three-dimensional sculptures, aiming to convey concepts with greater concreteness and depth, and creating a space where the concept of the work is inescapable and intriguing. Both his two-dimensional and three-dimensional works progress simultaneously, each challenging and competing with the other, and each possessing a sense of self-awareness. Sometimes, the surface of his three-dimensional works can also blur the boundaries of spatial recognition. In both his two-dimensional and three-dimensional pieces, the "Treeman"—a figure with plant or tree-like features for a head and dressed like a modern young man—frequently appears. He acknowledges that the "Treeman" is a projection of himself. This figure is the focal point of the artwork, the object of observation, and simultaneously, he is also a viewer, gazing at the audience observing the artwork. The "Treeman" symbolizes the friction between humanity and nature; he is both a wanderer in the wilderness and a recorder of the aftermath of human civilization's destruction.

In recent years, Hirako's works have become increasingly colorful. Although they may depict urban jungles, the overly vibrant colors, intended to mimic natural landscapes, often add an artificial and jarring effect. At times, he uses crayons to create a playful, primitive graffiti-like texture. Symbols such as potted plants and vases frequently appear in his work, where plants are confined to artificial spaces, mimicking the appearance of a natural environment. The plants in the forest and those in pots form a contrasting relationship. Through both painting and sculpture, Hirako continues to construct his vision of a wild, magically captivating utopian world.

Modern & Contemporary Artists He Admired

Since high school, Yuichi Hirako has greatly admired the modern Japanese painter Yuzo Saeki (1898-1928). Saeki studied in France and became acquainted with Fauvist painter Maurice de Vlaminck (1876-1958). Despite his early death, Saeki left behind immortal works depicting Parisian streets and portraits. Hirako is particularly drawn to the chaotic, somewhat dirty, and dim color palette in Saeki's paintings, which evokes a unique sense of decadence from pre-World War II Europe. Inspired by Saeki, Hirako intentionally avoids frequently cleaning his brushes while working. He often doesn't change the water when a painting is incomplete, which lends consistency to the overall color tone. Uniquely, he uses the largest "Tupperware" plastic container as a palette to mix his paints into a specific color.

Among contemporary artists, Hirako admires Olafur Eliasson (b. 1967). Around 2013, he saw Eliasson's monumental sunset installation, Little Sun, at Tate Modern. This work, which engages with social participation and nature, using an artificial sun as its core, left a deep impression on Hirako. It prompted him to further reflect on his own exploration of the relationship between plants and nature.

Hirako’s creative output spans not only painting, sculpture, installation, and public art, but also sound and video works. In the future, he hopes to create mockumentaries. His work continues to focus on current issues surrounding humanity, nature, and the environment.

 

Art Market Overview

Over the years, Hirako has collaborated with international galleries to exhibit and promote his work. He has built a following in Europe, particularly in Scandinavia and the Netherlands, where collectors resonate with his work due to their shared historical and mythological backgrounds. In Asia, particularly Japan, Korea, and Taiwan, there is a deeper cultural affinity with his work. These regions can appreciate both traditional Japanese culture and its Western influences, making Hirako’s personality and creations widely admired.

In February 2024, Taiwan's CANS magazine highlighted Hirako as the only Japanese artist in their "Asian Contemporary Art Best of the Year: Future Superstar of Asian Artists/Post-80s & 90s" list, which selected 12 emerging artists born in the 1980s and 1990s who had shown outstanding performance in the previous year. Being shortlisted by the jury is a significant acknowledgment of his talent. 

During his studies, Hirako began participating in group exhibitions in 2005. After graduating and returning to Japan, he sought exposure opportunities locally. In 2008, he participated in the 11th Geisai exhibition organized by Takashi Murakami. In 2010, he held his first solo exhibition in Tokyo. Since then, he has continued to exhibit in galleries, museums, and art fairs both domestically and internationally, gradually establishing a foundation in the primary market. His work entered the secondary market in the fall of 2015 when one of his large oil paintings was auctioned at Christie's Hong Kong, selling for approximately NT$400,000 (HK$93,750 or US$12,094).

In 2016, a second piece was auctioned by the same company, and in the fall of 2018, another work was sold through Bruun Rasmussen in Copenhagen, a Danish auction house with over 70 years of history. His work appeared at Bonhams in Hong Kong in 2020, followed by auctions at SBI in Tokyo and Ravenel in Taipei in 2021, and at Sotheby’s in London and Seoul Auction in 2022. As of September 2024, Hirako's works have been featured in approximately 143 auction lots worldwide, spanning various mediums. According to Artprice data, his highest auction volume and revenue occurred in 2022, reaching a total of US$2,117,010.

His most expensive painting to date, “Perennial 03” (2019), was sold at Christie's Hong Kong on May 27, 2022, for around NT$9 million (HK$2,394,000 or US$304,999). His most expensive sculpture, “Wooden Wood 01” (2022), was auctioned by Ravenel in Taipei on June 2, 2024, fetching NT$3.12 million (US$96,296).

As a rising star in Japan’s contemporary art scene, Hirako’s market value has shown steady growth, without dramatic fluctuations. His thoughtful approach to his craft is reflected in his continuous refinement and presentation of his work. On his 40th birthday (September 20, 2022), Hirako posted on Facebook: “After counting, I’ve realized that since my debut at a commercial gallery in 2010, I’ve held 38 solo exhibitions and participated in 68 group shows, along with various fairs and events—so many! I’m incredibly grateful! Thank you all so much. As long as you keep trying, you’ll succeed most of the time! I still have 60 years until retirement, so I’ll keep pushing forward! Please continue to support me.”

Hirako’s aspiration is to continue creating art until he’s 100 years old. As a conscientious and daring new figure in Japan’s contemporary art world, his willingness to embrace challenges is evident. In the past year or two, he has participated in over ten exhibitions annually, a testament to his tireless spirit. Through his unique "filter," the bespectacled Yuichi Hirako continues to express the world as he sees it, sharing his evolving vision with the public.