YOD Gallery, Osaka

YOD Gallery

4-9-15, Nishitenma, Kita-ku, Osaka 530-0047T/F, Japan

info@remove.me @yodgallery.com



Takehito Fujii (b.1967) graduated from Nihon University College of Art in 1990. He has been active in Tokyo and Nagoya holding several solo exhibitions at commercial galleries, and participating in many group shows. In 2005, he was awarded the 8th Taro Okamoto Memorial Contemporary Art Award Semi-grand prize for his series of iron masks titled “Sculpture Punishment," placing famous figures of power, wealth and violence in beheaded condition. In “New Personification,” his other representative series, Fujii combines two-paradoxical elements, iron, base material of contemporary society, and dolls, media loaded with ethnological information of the past.


Making dolls from iron

Roughly speaking, when you attempt to produce goods, using iron as the raw material, the same thing goes for the creator’s individual sense of consciousness. That is, in order to make our present situation, iron influences human history and our living circumstances.
Then when one tries to produce dolls, the creator’s sense may naturally date back to a certain time rooted in the past, when things like voodoo-like objects and god-like icons had an effect.

The retreated world which replaced the rise of the “iron age” was the one where dolls functioned in the community. This creation of the iron doll has been pulled in opposite directions throughout human history and had vastly different opposing elements in the use of language, that is “iron” as a raw material and “doll” as the motif, which make up the iron doll. Making an iron doll is the production procedure of a soft, introverted playful object made by a “macho” cast-iron labor process. 

However, if an “iron doll” has been produced under strange conditions, overcoming the presenting combination of “iron”+“doll” elements, and if this can exist independently with some qualities, this iron doll can be realized as in Surrealism. In addition, we can also say it is a form of “dépaysement” which is realized by substance in an actual space.

Takehito Fujii, Transfer Student/Speed Bread, 2016, Iron, titanium, plastic, 70 x 31 x 74.5 cm
Takehito Fujii, Transfer Student/Speed Bread, 2016, Iron, titanium, plastic, 70 x 31 x 74.5 cm
Takehito Fujii, Away from the Sea 7 / Phenomena, 2014, Iron and gauze, with swimsuit by Tomoko Fukuda, 65.3 x 17.8 x 16 cm
Takehito Fujii, Gay Cat Lust, 2014, Iron, 31.5 x 16 x 81.3 cm
Takehito Fujii, Mask, 2010, Iron, 22 x 21 x 14.2 cm