Born: 1957 Japan
Education:
1983 MFA(Printmaking), Tokyo National University of Fine Arts and Music, Tokyo

Artist Statement
If there is right, there is left. I thought I looked forward, but found I had been facing backward. Just one degree of a three hundred and sixty degree field of vision.
Gradually, subconsciously, I had chosen my view. Walking in the city, even while talking, I notice the tension in my shoulders. I shrug to loosen them, and slowly turn my neck. As for myself As for many things. . . .
To exist with clarity Without presumption. I wonder why things are this difficult. Those things, every time, I notice them. Those contradictions, my responding reactions. If I could give them form.
　　　　　　　 　　　　　 　 　　　 　　　　　　　　　　　　　　　　　Fudezuka Toshihisa

Solo Exhibitions
Over 100 solo exhibitions in Japan and Oversea since 1988.
Yoseido Gallery-Tokyo. The Tolman Collection-Tokyo. Art zone Kaguraoka-Kyoto, Artland Gallery-Kagawa, Misaki Gallery-Ohita. Yanagisawa Gallry-Saitama, Hiro Gallery-Wakayama.

Current Group and International Exhibitions
2019 “Collection + Secret of art technique - Printmaking” Takamatsu Art Museum, Kagawa
　　　“Pianissimo” three artist by engraving Art Gallery Muse, Gunma.
　　　“Modern Printmaking” Mizuta Museum Josai University, Saitama
2018 Portfolio “Shape of Cloud” Sanae Hoshio+Fudezuka Toshihisa published by Printing
　　　Museum　Tokyo, Tokyo.
　　　“Library in Fall” Iwasaki Museum-Yokohama
　　　”Examining Western Prints – Engraving: Intricate Realms Conjured by the Burin”
　　　Tokyo National Museum of Western Art
2017 “Original print for Bookcover” Gallery Puti Boit, Ohsaka.
　　　“CROSSPOINT” Kagawa Prif, Art Museum, Kagawa.
　　　“Japanese Art Last 50 years” Nihonbashi Takashimaya, Tokyo.

Prizes and Awards
2000 – 2001 Awarded a one year fellowship from the Japanese Government Agency of
　　　Culture to research contemporary printmaking in Poland
1999 Prize of Excellence Award, 4th Kochi International Triennial of Prints, Kochi, Japan
　　　Medal of Honor Award, 10th International Mini Prints Triennial Lodz ’99, Lodz, Poland
1993 Saitama Museum of Modern Art Purchase Prize, 23rd Contemporary Art Exhibition of
　　　Japan’94, Tokyo, Japan
1992 Tokyo National Museum of Modern Art Purchase Prize, 22nd Contemporary Art
　　　Exhibition of Japan ’94, Tokyo, Japan
1989 – 1990 Government of Canada Award – Research Fellowship (Printmaking), University of
　　　Alberta, Edmonton, Alberta, Canada
1988 Purchase Prize Award, 12th Cracow International Print Biennial, Cracow. Poland
1987 Silver Prize Award, 2nd International Biennial of Print Exhibition ’87, R.O.C., Taiwan

International Collections
Cracow Academy of Theatricals, Poland　Seoul Contemporary Art Center, Korea　Canada Council, Canada　Dresden State Library, Germany　Lodz National Museum, Poland　Cleveland State Museum, U.S.A.　Ticotin Museum of Japanese Culture, Israel　The National Gallery of U.K., England and more other countries. 　Facebook + Pinterest

　　All people have personal limitations and boundaries which subconsciously apply not only to physical objects, but to ways of thinking. We build up mental "hedges" easily, using these prejudgements as forms of self production. We simply prefer those things which reflect our own values and purpose of life. Somethings we accept, others we neglect, according to our per-sonality. Often we accept things which only approximately meet our requirements.
　　In my work I am influenced by people whose standards are more specific and whose goals are constantly reaching higher.
　　Nature is also a major influence on me. By means of my phy-sical body I can experience externally the immensity of nature. This awakens the awareness in me that I am part of nature and that inside my body nature is also. This interrelation / reflection of self and nature is another important element in my work.
The third main influence in my work is music - specifically jazz music. Jazz musicians use imagination in their compositions, taking completely different approaches many times within one piece,expanding on and exploring that composition's musical content and structure. Jazz musicians must know the full range of possibilities and limitations of their instruments. This is one of the reasons that jazz musicians do also much technical practise. Thechnical skill permits the musician to flexibly and spontaneously develop his intuitive ideas and variations within the musical framework of composition.
　　These observations and influences are reflected in my work,both in content and in process. These life experiences which I 'inhale' alert me to that which I must 'exhale' as an artist.
I drop my initial intuitive idea directly onto the plate, then I explore this image, digesting the essence　and emphasizing the content, developing it further and further. I often develop works on a similar theme from various viewpoints, both visually and mentally. After I reach a certain point I come to understand whatI have experienced through the manipulation of these images.Once reaching what was the imaginative limitation,and exhausting my visual vocabulary, I then come to understand what I want to do next.

　　I attempt to present abstract views that represent human thoughts and desires, eliminating any exaggeration in order to emphasize human relations to those who view my image and to allow them to reflect their own lives and philosophies in my image.
In other words, I am trying to present some primary aspect which can perhaps create a resonance within those who have the capacity of a multiple imagination. It is not my desire that people react only to my visual message. I want my images to provoke empathy from the viewer and to allow their thoughts to be reflected through my image.

　　　　　　　　　 　　　　　　　　　　　　　　　　　　　　　　　　　Fudezuka Toshihisa

1 Print　 "Kasakoso"
　ed.30　16X22cm
　woodblock/relief
　JPY 16,000　Frame JPY 7,500

＊The above price requires a consumption tax.