MOTIF

Owned Art vol.09
Kanemitsu Ajisaka

Graphic designer / Presided over by iTohen

Kanemitsu Ajisaka
I try to imagine the story behind the creation, talk to the creator, fall in love with the work, and then buy the art when I think I want to support the artists themselves.

When did you first start thinking of "owning" a piece of art?

Before I had “iTohen", I was focusing on my own artistic activities. As you continue creating art, it is inevitable that you would become tempted to show your work to people. I was like that.
Looking back, I guess there was a rooted desire for approval. “Is the path I'm on really the right one?”; The idea of holding an exhibition was one way to alleviate such anxiety. At that time, I thought that while we were creating, worrying, agonizing, and rejoicing, having an opportunity to show our work to a third party was like "venting," so to speak. That's how I vetted venues and worked out the cost of using them. While I gave away a lot financially, I was able to get more out of it that money couldn't buy. To be more specific, it's mainly good relationships, but it gives a really meaningful restructuring opportunity of thoughts that softens your assumptions and allows you to rebuild them anew. This can not be learned from a handbook.
Through this whole process, I eventually became interested in other people's work: creations. So to speak, I think I acquired a true sense of “tolerance” in my own way. That’s how I formed a habit of buying and displaying art. In my late twenties, I began to teach mainly printmaking to commercial art students at design schools. Some of my students were very vigorous, which also inevitably led to exhibitions. As a teacher, I couldn't just go to a student's exhibition and leave empty-handed.
I've rattled off some minor details, but it's nothing serious, I don't want to be embarrassed, I don't want to embarrass... This was the beginning of my owning art.

What made you want to purchase a piece of art?

Hmmm... Intuition? Although, to tell you the truth, I think it is accurate. I try to buy a piece imagining the story behind the creation in mind, have a chat with the creator, and when I fall in love with the work and think that I want to support the artist, I buy the art. So I don't have a theme or concept for collecting the works I own. The pictures I have on display are all different and have no sense of unity. On the contrary, I think I enjoy the diversity of my personal room (the space called a house).

From left to right, works by Isao Makino and Nishishuku. Kaita Abe's work.

Top__From left to right, works by Isao Makino and Nishishuku. Bottom__Kaita Abe's work.

How do you enjoy the art you own?

I'd like to say I match them with the season, but that's when I have more time to spare. On the other hand, when I do change the layouts, I think it's when I am aware that I have more space mentally. I think it's an important process to understand your own mind.

Do you think there’s a difference between seeing an exhibition or art in real life and online?

Of course. I'm sure everyone goes to a lot of trouble to make sure that the online images look as close to the original, but through the screen can’t help in anyways. In fact, you realize that you are "looking at the screen" before you see the work. Our eyes have a higher resolution than we can imagine. There is a huge difference between the resolution we have and the resolution of the screen. No matter how advanced the technology is, this difference remains unchanged, doesn't it? That's my opinion. Oh, but I also like to see works online. I think this is one of the benefits of technology.

A view of the cashier in iTohen: Mamaikeda working as a crew. Interior view of a small room at the cashier in iTohen: the portrait is a collaboration work by Miyazaki and Konomi Tani.

Top__A view of the cashier in iTohen: Mamaikeda working as a crew. Bottom__Interior view of a small room at the cashier in iTohen: the portrait is a collaboration work by Miyazaki and Konomi Tani.

You can think of it as installing windows in your living space.

What kind of artwork would you like to own in the future?

Basically, I want to continue to buy the works of those who exhibit at Itohen, which I run. The reason for this is that, as I mentioned above, feeling of support for them is at the top of my priority list for purchasing. And then, artists can exhibit works in different places, and if possible, we'll go see one and buy the art there. By doing so, I can support the artists and the galleries that organize the exhibitions and the people who maintain the alternative spaces, so I always want to be proactive in the use of my money in that way.

What does “Owned Art (the art you own)” mean to you?

I think that the art that I collect, display and enjoy is something that “I have seen.” In other words, it is something about me created by others. Overall, I feel that it's no exaggeration to say that I have been collecting my own "mirrors". If that analogy is not relatable, you could call them "windows." Whenever you are suffering with worries or anxieties in your daily life, you can think of it as installing new "windows" in your living space. It may be an unusual way of thinking, but I believe that our ability of imagination is free to use however we want. We can attach "wings" to our imagination and travel anywhere, everywhere.

Do you have any advice for people considering buying art?

When you hear the words "art gallery" or "gallery", you may feel a sense of uneasiness, and many of you may think, "Well, I don’t know…" I totally get it. It is not surprising because we have not established classes for appreciating art in that way, nor have we established a place for exchanging opinions. If you go to an educational institution specializing in art, it's a different story. However, even here in Japan, I think there are now a lot more opportunities for people to see art such as paintings and sculptures in cafes, beauty salons, grocery stores and bookstores.
I think this trend will become even stronger after the coronavirus pandemic. So take a look at the works you see in those places first. And then try to find a work that fascinates you. You don't need any prior knowledge here. I would like you to judge it not in your head but with your guts. If you feel warm and comfortable in your stomach, that’s probably the answer. And then look at the price of the piece you're interested in. It shouldn’t be too expensive that requires your guts to jump off a cliff. Go ahead and buy the one you liked, regardless of how expensive or inexpensive it is, and hang it in your room. 
You perhaps experience an unavoidable event called relocation in your life. That's when the keyword "decluttering" should occupy your mind. Probably the art you've taken the plunge and bought will be off the "decluttering" list. I'm confident that you would feel it’s such a "cost effective" thing.

A view of the cashier in iTohen. A view of the cashier in iTohen: (Top left) A work by Mitsugu Sato. (From left to right) Sayuri Tsujimoto's work, Yotsume Somenunosha's work, and yuuku's lighting cover.

Top__A view of the cashier in iTohen. Bottom__A view of the cashier in iTohen: (Top left) A work by Mitsugu Sato. (From left to right) Sayuri Tsujimoto's work, Yotsume Somenunosha's work, and yuuku's lighting cover.

Kanemitsu Ajisaka(Graphic designer / Presided over by iTohen)

Born in 1971 in Kagoshima Prefecture in Kawauchi City (now Satsumasendai City). Moved to Osaka on his own to study graphic design. Completed a graduate course in graphic design at Ueda Gakuen Osaka College of Design as a scholarship student. After graduating, he participated in a cultural project in Osaka Prefecture. Kikuo Mori: Went to Indonesia as a mural staff member. After completing the course, he started making copperplate prints. Kuru Co., Ltd.: an interior design office, where he was in charge of producing original fixtures such as furnitures and illuminations. Osaka College of Design: full-time instructor in the commercial art course. Mainly in charge of etchings and silkscreens (printmaking). Became independent in 2001. Established SKY GRAPHICS, which focuses on graphic design. In 2003, opened iTohen, a multi-purpose facility with gallery operations, in Honjo-nishi, Kita-ku, Osaka City. The company name was changed to SKKY Inc. when it became LLC. At present, the company's mainly focusing on graphic design. Between 2004 and 2011, he also worked as a production assistant to artist Koichi Moriguchi.
From 2001 to March 2020, he was a part-time lecturer at Osaka College of Design, where he was also a part-time lecturer in the Visual Communication Design Department. He is in charge of the website of the organization "Yabukuguri," which is based in Hita City, Oita Prefecture.
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Kanemitsu Ajisaka(Graphic designer / Presided over by iTohen)