Goro Nagashima

After graduating from Musashino Art University junior college art department, he worked as an illustrator, focusing on magazine media such as "BRUTUS", "Cyzo", in-flight magazine "Tsubasa no Oukoku", advertising, apparel, music, and TV programs. 2010 first solo exhibition "PROM HEARTS c/w 10SEC.TILL LOVE" (No.12gallery)

After a career of about 25 years of drawing illustrations in acrylic, watercolor, and pencil for magazines and advertisements, he worked on oil paintings as if he had regained his early artistic impulses. Hamburgers, hot dogs, cartoon characters, and other icons of the American West Coast culture of the 1980s that the artist admired are drawn thickly with a painting knife. While depicting the symbol of a happy era, the complex of post-war Japan is painted over. It seems to be an expression of fetishism seen in Japanese subcultures that cuts out objects and characters in a straightforward manner. Here, there is an awareness of doubting conventional authorities such as nations and religions, and trying to perceive the past from various possibilities through individual feelings and actions. He mixes concrete figures that symbolize the era with abstractions that deviate from the image, and tries to depict the transformation of meaning in the times from what lies in between.

長嶋五郎

After graduating from Musashino Art University junior college art department, he worked as an illustrator, focusing on magazine media such as "BRUTUS", "Cyzo", in-flight magazine "Tsubasa no Oukoku", advertising, apparel, music, and TV programs. 2010 first solo exhibition "PROM HEARTS c/w 10SEC.TILL LOVE" (No.12gallery)

After a career of about 25 years of drawing illustrations in acrylic, watercolor, and pencil for magazines and advertisements, he worked on oil paintings as if he had regained his early artistic impulses. Hamburgers, hot dogs, cartoon characters, and other icons of the American West Coast culture of the 1980s that the artist admired are drawn thickly with a painting knife. While depicting the symbol of a happy era, the complex of post-war Japan is painted over. It seems to be an expression of fetishism seen in Japanese subcultures that cuts out objects and characters in a straightforward manner. Here, there is an awareness of doubting conventional authorities such as nations and religions, and trying to perceive the past from various possibilities through individual feelings and actions. He mixes concrete figures that symbolize the era with abstractions that deviate from the image, and tries to depict the transformation of meaning in the times from what lies in between.

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