Katsura Funakoshi "Sculptures and Drawings"
Nishimura Gallery
Until May 16
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Artists
Katsura Funakoshi
Nishimura Gallery is pleased to present “Katsura Funakoshi: Sculptures and Drawings,” the first exhibition at this gallery following the artist’s passing. The exhibition will run from 28 March to 16 May 2026, featuring two sculptures and twenty drawings by Katsura Funakoshi.
Born in Iwate Prefecture in 1951, Funakoshi left an indelible mark on the history of sculpture through his diverse figurations of human existence and passed away in March 2024 at the age of 72. After studying sculpture at Tokyo Zokei University and Tokyo University of the Arts, Funakoshi emerged in the 1980s—an era dominated by abstract and conceptual art—with a distinctive approach to figurative sculpture. Utilizing the classical technique of carved and painted camphor wood with inset marble eyes, his busts were deceptively simple yet possessed a modern spirit entirely free from déjà vu. A dashing presence that conceals a sense of lonely solitude, a dignified serenity, and an introspective, distant gaze that exudes a delicate intelligence—embodying the timeless universality inherent in human existence with a vivid sensitivity, these lyrical, androgynous sculptures opened new horizons for sculptural expression, leading to his prominent presence at major venues such as the Venice Biennale (1988) and Documenta (1992). In 2024, a solo exhibition was held at the Kuandu Museum of Fine Arts in Taipei through February, followed by the upcoming release of Katsura Funakoshi: The Complete Sculptures (Seigensha). Additionally, the exhibition catalogue/book Katsura Funakoshi: Sculptures and Drawings (including reprints of his essay “Invisible Images, New Forms” and a dialogue between Kenzaburo Oe and Katsura Funakoshi) is scheduled for release at our gallery on the opening day of the exhibition, as well as at bookstores nationwide (Kyuryudo).
Funakoshi’s encounter with camphor wood as a medium began with Madonna and Child of the Trappist (1977), created for the Trappist Monastery near Hakodate. This led to his first wooden half-length bust, Portrait of My Wife (1979–1980). Starting with this work, he went on to sculpt 155 half-length and full-body human figures throughout his lifetime. Funakoshi’s work underwent a continuous evolution, reflecting the contemplations and inner images of humanity that matured within him at each stage of his life. This progression began with his early clothed figures in everyday poses and moved toward what he later termed “imaginary figures,” which departed from ordinary physical forms to richly represent the essence of human existence, as well as his androgynous, half-human, half-beast Sphinxes that quietly gaze upon the workings of the human world. In these statues, Funakoshi projected the chaotic nature of human beings as creatures who are beautiful, possess spirits vast enough to contain mountains, harbor internal contradictions, and inhabit multiple timelines. While capturing the ephemeral nature of life, these sculptures touch upon an eternal depth and possess a mystical countenance where the “individual” and the “universal” coexist. They exude a sense of presence that mirrors the contours of the soul, alongside a sanctity that embraces the entirety of human existence with all its inherent goodness and animality. Like a poem that carves out universal truths with limited words, these statues captivate the viewer with an inexhaustible depth.
This exhibition features two sculptures that Funakoshi kept in his collection until his later years: “Catching Words with Hands” (2004), a work of exceptional elegance, and “The Book of Azure” (2017), which features a blue glass plate set into the forehead as a metaphor for a book symbolizing human wisdom. Alongside these statues, we are presenting twenty of his drawings found in his studio, most of which are being shown for the first time. Created between 1983 and 2020, these drawings range from vigorous charcoal sketches to meticulous works rendered in colored pencil and watercolor, including several well-known pieces that have frequently appeared in major museum exhibitions. Some of these are for the two featured sculptures, and their appeal will surely be further enhanced through the visual dialogue between drawing and sculpture.
This marks Funakoshi’s 15th solo exhibition at our gallery since his first show in 1985, and the first in about three years. We cordially invite you to experience the exhibition and look forward to welcoming you to the gallery.
Born in Iwate Prefecture in 1951, Funakoshi left an indelible mark on the history of sculpture through his diverse figurations of human existence and passed away in March 2024 at the age of 72. After studying sculpture at Tokyo Zokei University and Tokyo University of the Arts, Funakoshi emerged in the 1980s—an era dominated by abstract and conceptual art—with a distinctive approach to figurative sculpture. Utilizing the classical technique of carved and painted camphor wood with inset marble eyes, his busts were deceptively simple yet possessed a modern spirit entirely free from déjà vu. A dashing presence that conceals a sense of lonely solitude, a dignified serenity, and an introspective, distant gaze that exudes a delicate intelligence—embodying the timeless universality inherent in human existence with a vivid sensitivity, these lyrical, androgynous sculptures opened new horizons for sculptural expression, leading to his prominent presence at major venues such as the Venice Biennale (1988) and Documenta (1992). In 2024, a solo exhibition was held at the Kuandu Museum of Fine Arts in Taipei through February, followed by the upcoming release of Katsura Funakoshi: The Complete Sculptures (Seigensha). Additionally, the exhibition catalogue/book Katsura Funakoshi: Sculptures and Drawings (including reprints of his essay “Invisible Images, New Forms” and a dialogue between Kenzaburo Oe and Katsura Funakoshi) is scheduled for release at our gallery on the opening day of the exhibition, as well as at bookstores nationwide (Kyuryudo).
Funakoshi’s encounter with camphor wood as a medium began with Madonna and Child of the Trappist (1977), created for the Trappist Monastery near Hakodate. This led to his first wooden half-length bust, Portrait of My Wife (1979–1980). Starting with this work, he went on to sculpt 155 half-length and full-body human figures throughout his lifetime. Funakoshi’s work underwent a continuous evolution, reflecting the contemplations and inner images of humanity that matured within him at each stage of his life. This progression began with his early clothed figures in everyday poses and moved toward what he later termed “imaginary figures,” which departed from ordinary physical forms to richly represent the essence of human existence, as well as his androgynous, half-human, half-beast Sphinxes that quietly gaze upon the workings of the human world. In these statues, Funakoshi projected the chaotic nature of human beings as creatures who are beautiful, possess spirits vast enough to contain mountains, harbor internal contradictions, and inhabit multiple timelines. While capturing the ephemeral nature of life, these sculptures touch upon an eternal depth and possess a mystical countenance where the “individual” and the “universal” coexist. They exude a sense of presence that mirrors the contours of the soul, alongside a sanctity that embraces the entirety of human existence with all its inherent goodness and animality. Like a poem that carves out universal truths with limited words, these statues captivate the viewer with an inexhaustible depth.
This exhibition features two sculptures that Funakoshi kept in his collection until his later years: “Catching Words with Hands” (2004), a work of exceptional elegance, and “The Book of Azure” (2017), which features a blue glass plate set into the forehead as a metaphor for a book symbolizing human wisdom. Alongside these statues, we are presenting twenty of his drawings found in his studio, most of which are being shown for the first time. Created between 1983 and 2020, these drawings range from vigorous charcoal sketches to meticulous works rendered in colored pencil and watercolor, including several well-known pieces that have frequently appeared in major museum exhibitions. Some of these are for the two featured sculptures, and their appeal will surely be further enhanced through the visual dialogue between drawing and sculpture.
This marks Funakoshi’s 15th solo exhibition at our gallery since his first show in 1985, and the first in about three years. We cordially invite you to experience the exhibition and look forward to welcoming you to the gallery.
Schedule Now in session | Mar 28 (Sat) 2026-May 16 (Sat) 2026 42 days left Opening Hours Information
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| Fee | Free | ||||
| Website | https://www.nishimura-gallery.com/%e8%88%9f%e8%b6%8a%e6%a1%82%e3%80%80%e5%bd%ab%e5%88%bb%e3%81%a8%e3%83%89%e3%83%ad%e3%83%bc%e3%82%a4%e3%83%b3%e3%82%b0/ | ||||
| Venue | Nishimura Gallery http://www.nishimura-gallery.com | ||||
| Location | 9F Nihombashi Nikko Bldg., 2-10-8 Nihombashi, Chuo-ku, Tokyo 103-0027 | ||||
| Access | 2 minute walk from exit B4 at Nihombashi Station on the Ginza line, 2 minute walk from exit C4 at Nihombashi Station on the Tozai line, 2 minute walk from exit D4 at Nihombashi Station on the Toei Asakusa line. | ||||
| Phone | 03-5203-2800 | ||||
| Related images | Click on the image to enlarge it |
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