Details:
① Artwork:
K-Pot (Captured Red Sadness)
In this artwork, the artist has painted a blue teapot (a central motif for this series) with a clawed foot, standing before a yellow background. Two small, abstract creatures painted bright red are depicted inside the teapot.
In this series of paintings, Kaito Itsuki refers to her central teapot image as a “K-pot,” in which K stands for “悲しみ/Kanashimi” (sadness) and “けじめ/ Kejime” (impact of strong decisions resulting from tragedies). Like many teapots, the K-Pot has a strainer, and when you put sadness into it, it catches elements to extract “Kejime.” The artist plays with this idea in her whimsical yet melancholy works.
Specs:
③ Artist:
One of the central motifs of Kaito Itsuki work is her teapot image, referred to as a “K-pot,” in which K stands for “悲しみ/Kanashimi” (sadness) and “けじめ/ Kejime” (impact of strong decisions resulting from tragedies). Like many teapots, the K-Pot has a strainer, and when you put sadness into it, it catches elements to extract “Kejime.” The artist plays with this idea in her whimsical yet melancholy works.
Kaito Itsuki was born in 1993 in Sapporo, Japan, and lives in Tokyo, Japan. She graduated with an MFA in Painting from the Kyoto City University of Arts (KCUA) in Kyoto, Japan (2019).
She has mounted solo exhibitions at the Hive Center for Contemporary Art in Beijing, China (2022); HUA ART SPACE in Beijing, China (2022); Mamoth in London, UK (2022); LEESAYA in Tokyo, Japan (2021); and GALLERY MEME in Seoul, Korea (2021); among others.
The artist’s work has also been featured in significant group exhibitions, including Cope at No Gallery in New York City, NY (2022); Temple at Seventh Gallery in Melbourne, Australia (2022); Couple of at Hive Contemporary Art Center in Beijing, China (2021); Low Fever at Tang Contemporary Art in Hong Kong, China (2021); and COLLECTION AS POEM IN THE AGE OF EPHEMERALITY at X Museum in Beijing, China (2020).
Her work has been written about in ARTNews Japan (2022); Kuma Foundation (2022); Elephant (2020); GLAMCULT (2019); and Forbes Japan (2018).
