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Erika Nojiri

Erika Nojiri



I’m a painter and work as a video editor at an advertising company.
I think social trends critically and express my opinions in my art works.

[About my painting’s style]
The feature of my works is spiral lines. At the end of graduated school, I finally found this style. When I was training drawings to pass the university entrance exam, I made lines in my brain on the objects. I could create the main elements of my paintings.

When I face the imposition of the majority of the idea that "~ should, must be" and "the social common senses", my creative motivation gets stir up. Japan has a high collective consciousness and values cooperation, but I think that there are many people who can’t say their opinions. And they are worried too much about breaking the cooperation. Some people say those tendencies are virtues, but I have felt uncomfortable since I was a child. When I was a child, I couldn't put into words what I wanted to say and often was annoyed. But I was free in the picture. Painting solved my indescribable desires. I think this process makes me value the concepts.

When I was an undergraduate, I was studying abstract paintings. (Maybe it's better to say semi-concrete.) I painted some copies of Francis Bacon’s works, looked at Cubist and Fauvist pain-tings in 20th century, and thought about the coming out artist’s mind in the paintings. However, abstract paintings are not popular in Japan. At the exhibition, there were many opinions "I don't know." So, I thought about picture scrolls in the Heian period and Nishiki-e in the Edo period and so on. To be honest, the strange shaped animals and unreadable old Japanese looked "abstract" for me. I also noticed that these were not painted as paintings. The picture scrolls were as illustrations in books, and the Nishiki-e had roles as brochures. So I came to the conclusion that the older Japanese painters de-signed and characterized the real creatures to tell information. My current painting style applies this conclusion.


- Solo exhibition
2019 "Odoro Odoro" Gallery Binosha (Tokyo, Japan)

- Special exhibition / Group exhibition
"Meeting of literature and art -Art sommelier Fuyuhiko Yamamoto, Ginza Echo-an and Gallery Musee- book cover design exhibition" cafe & gallery musee (Ishikawa, Japan), Gal-lery Echo-an (Tokyo, Japan)

"Japan Collage 2020" (part 1) Gallery K (Tokyo, Japan)
"Session III 2020" GALLERY ART POINT (Tokyo, Japan)

"Uchiyama House: Encounter with Contemporary Art Exhibition IV -Bearing the Future-" Toyama Prefectural Civic Center Annex Uchiyama House [National Registered Tangible Cultural Property] (Toyama, Japan)
"HYSTERICA" M.A.D.S. ART GALLERY(Milan, Italy & Fuerteventura, Spain)

"The Gates Art Competition 1st -Cat-" Gates The Virtual Art City (Tokyo, Japan) *Virtual gallery
"Rashinban Selection 5 artists Exhibition" Art Space Rashinban (Tokyo, Japan)
”SALON DE L'ART JAPONAIS 2022” Linda Farrell gallery (Paris, France)
"COMPOSITIONS" The Holy Art gallery (London, UK) *Virtual gallery


"Presented by gekkan bizyutsu Art Newcomers Award Debut 2020" Selected (Tokyo, Ja-pan)

"The Gates Art Competition 1st -Cat-" Selected (Tokyo, Japan)
”SALON DE L'ART JAPONAIS 2022” Grand Prix (Paris, France)

About each artwork:
My theme is the strength of women overcoming their past. It is an image of a woman who has freed herself from her past and ties.
Until 2021, it was the unnaturalness of Japanese society, which places too much emphasis on group consciousness and cooperation. It's not enough importance on the individual. I've made the artworks about the problem.
I overlap my past relationship with the society. I have no good romantic memories. I thought I had to be the image that he wanted. Even kissing was forced on me. A man forced me to have intercourse. It took a long time to overcome that. I could move on with my kind friends.
From the above, I express the strength of women overcoming.


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