Japanese Actist Izumi Kato’s Humanoid Hybrid creatures exist in a fluid space between Earth, moving somewhere between ancient terms, unborn spirits and extraterrestrials. Appearing out of nowhere, Epipanic visions revealed unprecedented truths in our evolutionary process while suggesting new possibilities for greater survival and continued survival on this planet.
In just a few years, Kato has risen to national and institutional exposure, building a strong market presence through a powerhouse gallery and steadily increasing results. He has established a worldwide reputation for a unique figurative language and a sense of mystery and magic that combines ancient Japanese spirituality and shinto spirituality with manga aesthetics and a rich, full, rich visual sense that feels right in the world of fantasy.
As the artist continues to establish his status as one of the most compelling names through his participation in Agoyo, Japan, he began to look for meanings and messages behind his graceful creations.
Both in the Kato-to-to-to-strose show at Perrotin and in his AICHI works, his biomorphic characters take watery, fluid forms. Existing somewhere between human beings and water, suspended in the plasmatic or amniotic state, they evoke the arc of evolution from the place formed in the water while cheating to the burning of the human while awakening the cycle as a means of natural survival.
As Kato admits, his painting practice continues to evolve. “There are so many, I have started to include living sea creatures in my work,” he explained, explaining, explaining, explaining, explaining, including living sea creatures in my work, “explaining, explaining, explaining, explaining, including living sea creatures in my work,” explaining, explaining, explaining, explaining, explaining, including living sea creatures in my work, “explaining, explaining, explaining, explaining, including living sea creatures in my work mine. “Now, I paint these types as I need them, as a way to express what paintings mean to me at this moment.”
His figures feel ancient and futuristic, alien and human. Kato’s basic Kato Palette upended that argument. He says: “Colors are my feelings for me, and I use them in a logical way. “I don’t start with a planned color scheme; instead, I decide on each color individually as much as possible.” The quick balance with an aesthetic partially influenced by the digital environment is probably what makes his work so engaging for modern viewers.
While his calculations do not directly refer to evolutionary history, Kato sees the planet itself as a living entity in constant evolution. He says: “Earth is home to countless forms of life, although the definitions of life may vary from person to person. “I see the planet itself as a living entity. It’s mysterious and very exciting to me, and I find myself thinking about it often.”
In all of his effects on their evolution, Kato has constructed an allegorical allegorical narrative that blocks hybridization between species as an alternative to humanity. Moving equally across capitals and often incorporating natural materials such as wood and stone, his oeuvre feels like an ongoing, urgent exercise in world building – a form of Myserpoieiesis aimed at speculative thinking in human societies. His work unconsciously draws from the beliefs of Japanese Folklore and Shinto, although he clarifies that he did not deliberately refer to a particular motif. Those are connected more physically, formed by his personal and family background.
Kato admits that autobiography inevitably sees his art. “It’s hard to answer clearly, but everything I see affects me in some way, and it’s possible that those influences have appeared in my work, often I don’t know,” he explained. Painting, for him, serves as both a method and a tool for absorbing, processing and interpreting this human potential.
“I was definitely influenced by the local culture and the upbringing I had in Shimane, where I grew up,” he said, recalling how they would warn children about the imaginary sea creature – with a female face – that appeared at night to scare them away from water. Kato’s paintings captured the same tension with the most mythic: the balance between innocence and menace. His figures look like children but they are not attractive, they are gentle but there is something else that exists between birth and death, body and spirit. These myths, he points out, are ultimately a means of survival. “I realized only recently that the environment I grew up in has softened my work.”
It is in the symbolic third realm of myths and legends – one that exhausts the physical and mental – that Kato’s images achieve their subtlety, conveying timeless messages about the nature of human existence. However, he says that he does not consider the recurring motifs in his work to be characters, because they cross personality and are not part of any narrative or intentional narrative. “” I use human-like figures to strengthen the composition of the painting and illuminate the viewer’s imagination, “he explains. At the same time, he admits that these ideas of the same, symbolic ideas of ways of life may be another place and time to come – whether the species remain in the future or the past or the near or the shaped form. Kato admits that it is difficult to define with words, but his paintings live in memory, mental and spiritual that precedes and transcends language, destroying the usual categories. They speak both to and from man, offering prophecies of other possibilities of cosmic life within and beyond this planet and time.
Kato’s figures often appear temporarily suspended in a visible physical dimension at the moment with an inner radiance – a kind of powerful aura. “I don’t really know where it comes from, but I believe the ARTs themselves are powerful,” Kato said, answering cryptically when asked what this power represented. “I’m glad that someone can see that powerful room in my work.”
At a time defined by destruction and chaos, the Epiphanic Mythopoieesis of Kato, Graverane and tothoful offers modern viewers a memorable narrative of ancient mythology, reminding us that life, evolution, decay and rebirth are part of a continuous cycle. To map the liminal space between collapse and renewal, his hybrid creatures are always in the loop, carrying the deep knowledge that the decay that is decay will never be the end but the necessary end. Proposing a code of survival embedded in eternal truths and expressed in symbolic language, “says Kato’s works in space and, in the Spirit of Joseph Campbell’s” about our secret of awakening, the mysteries of the universe of the universe.
Lots of art talks