Taku Hisamura (Artist / Sculptor)

Born in Tokyo, 1977.

In 2003, inspired by a lecture at Todo School, which I happened to listen to, he began presenting his work. From handmade to DIY craft, I actively choose techniques and materials that are considered to be on the periphery of art, and produces works that are barely viable through the art system, while changing them with a reductive ways.

Recent major solo exhibitions include: “Homemade Sculpture” (AI KOWADA GALLERY, Tokyo, 2016), “Repeat Play”(NADiff Window Gallery, Tokyo, 2020), “One Point Sculptures”(GALLERY ROOM•A, Tokyo, 2021), “One Point Sculptures”(SOMSOC GALLERY, Tokyo, 2022). Recent maijor exhibitions includes: “26th UBE Biennale”(Tokiwa Park, Ube, 2015),  “Contemporary Sculptor from JAPAN” (Open House at Central Embassy, Bangkok, 2017), “Dogo Onsenart 2018” (Dogo Onsen and its surroundings, Ehime, 2018), “On the Verge of Fiction” (Kuandu Museum of Fine Arts, Taipei, 2019), “Tokyo Biennale 2020/2021″(Across the 4 wards – Chiyoda City, Chuo City, Bunkyo City, and Taito City – of the Northeastern area of central Tokyo, 2021), “Renew-LAB to begin in the future”(Art-lab Sagamihara, 2021), “Organizing Daily Life”(Hajimari art center, Fukushima, 2022)  “ART CENTRAL HONG KONG” (Sansiao Gallry booth, HKCEC, 2023), “ART OSAKA” (GALLERY KAWAMATSU booth, KAGOO, 2023), “ARTISTS’ FAIR KYOTO 2024” (KYOTO NATIONAL MUSEUM, 2024)and more.


In contemporary art, there are works like Duchamp’s ‘Fountain’ that are supported by institutional elements and are accepted as ‘art’ despite not appearing to be art. This fact enables me to create something art-like, but I don’t actually create art itself.

What I particularly emphasize in my work is the utilization of the art system from a physical aspect. For example, by framing or mounting on a pedestal, or by sewing exhibition spaces and pedestals onto dirty work clothes or clothes with logos that cannot be considered art in reality, I attempt to establish them as art. In other words, my approach to art production is a method of ‘creating without creating art itself,’ suggesting that while creating art is difficult, establishing them as art through institutional elements is possible.

The art system also involves distinguishing between art and non-art. This concept did not exist in Japan before the Meiji period. In Japan, there is a history of painting on screens, fans, and kimonos, and people living within that context were able to appreciate art in their daily lives without the need for exhibitions. This indicates that art and daily life were undifferentiated.

The art I aim for is a state where art and daily life are undifferentiated or interact with each other. To emphasize this, I actively incorporate techniques used in handmade and DIY, which are far from specialized techniques such as brushes or chisels, and sometimes wear or use the artworks themselves to ensure their critical nature.