Daisuke Ujuan Oil painting, pencil drawing
Daisuke Ujuan is a Japanese artist. Daisuke was born January 9, 1973, Kagoshima prefecture of Japan. At the age of 18, he moved to Tokyo and studied graphic design at Chubi Central Art School in. School didn't interest him much and he quit due to the lack of funds. After leaving the school, Daisuke has been heavily influenced by the Western culture, particularly Western Music and imagery. He began oil painting in 1998. In 2001 he traveled to Italy to explore different horizons. In 2005 Daisuke's painting "The End of the World" won a prize at The 24th IZUBI painting competition in Japan. In 2008 he had his own first solo exhibition at the Gallery Art Point, Tokyo. In 2009 he participated in group exhibition called "The Birth of Right and Left" at the Ico Gallery, New York. Some of Daisuke's artworks are kept in private collections in the USA, Italy, Belgium, Russia and Japan.
Painter Ujuan's Artwork Review, he has noted a number of influences, which range from post-expressionist Edvard Munch to novelist Haruki Murakami. While putting stock in influences is a lot like deciding to heavily invest in securitized mortgages, they do, at the very least, delimit an area within which we can place the artist.Though others are mentioned, it seems these two – Munch and Murakami –really set the boundaries around Ujuan’s art, which oscillates between creepy, surreal, hazy and terrifying. Even the most benign of his paintings has these qualities. [man with fingers to head] on its own might not be alarming, but when put in sequence with his other works most assuredly gives one the feeling of dread, such that it’s not far-fetched to suggest that if there had been a second painting of a moment later, the character would have blown his brains out with the flintlock simulacra.While the terrifying character can be subtle as in the above mentioned piece, it is definitely overt in paintings like “Moonlight” and “The End of World” which feature languid, fetal characters, both lacking any kind of vitality, languishing near death yet minatory at the same time.Emaciation and diminution are threatening in that way, as impossible yet still plausible human shapes. This tone is prevalent, as “Pierrot Le Fou” features a corpse being dragged by its killer or mourner or both, while “The Birth of Left and Right” is outright the most simultaneously surreal and unnerving of them all.