Ryohei Yamashita Long Interview

The gallery talk for Ryohei Yamashita’s solo exhibition, “HOPE,” which started on December 10th, has been summarized into this text. It covers the history of the painter Ryohei Yamashita and the appeal of his “dynamism”paintings. Please enjoy it along with the video.

[Video content is available here: https://www.instagram.com/p/CXVVbHsFyKo/] [Original source page for this article: https://chignitta.com/archives/items/ryoheiyamashirta_interview]

Gallery Talk at Chignitta Space. December 11th “I learned the joy of earning money by drawing portraits on the street.”

Taniguchi: We’re going to talk about the charm of Yamashita’s work and peel back the layers of his career, all in front of the pieces from the Ryohei Yamashita solo exhibition, “HOPE,” which started yesterday. I’ve known Yamashita-kun for a long time, but Sasakan-san, this is your first time seeing the original works, isn’t it?

Sasakan: Yes, it is my first time seeing Mr. Yamashita’s work, and the power is incredible. Even when the originals first arrived, they were emitting this amazing aura. This is the finale for Chignitta Space, our last exhibition of the year.

Taniguchi: Mr. Yamashita is an illustrator and painter from Hakata who has done a lot of work. Could you tell us the “Yamashita History,” starting from the very beginning of your career?

Yamashita: The starting point was on the street, drawing portraits. I drew the faces of passersby and sold them on the street. It was near Tenjin, a large bus stop. I would lay out celebrity portraits and conduct what was, admittedly, a suspicious-looking business. (Laughs.)

I first tried drawing portraits at a university festival stall. Drawing the person right in front of me earned me a single coin. That was the first time I understood the joy of earning money by drawing.

I had always been good at drawing. Riding that momentum after the festival, I immediately went out onto the street. Perhaps portrait drawing was unusual back then, but it became like a street performance. I had customers right in front of me, a crowd of spectators around, and I'd show them the finished picture: “Done!” followed by “Whoa!” from the crowd. This was about 20 years ago, and I had some dream-like times in Tenjin. Laws have become stricter now, so that kind of thing is no longer possible, but I think it was the last era when it was. Tenjin was a small market then, with portraits, fortune telling, and accessories.

That was during my third and fourth years at Kyushu Institute of Design. I studied visual design in general, specializing in film and video production in my fourth year. So, in my student days, the image of me shooting a video camera was stronger than drawing. I was making small music videos and short films.

I actually had a job offer from a commercial production company, but then I encountered portrait drawing. Portrait drawing is a solo production, while video is a collective art, and sometimes I’d get carried away. There were times when I disrupted the group's pace. I felt that maybe painting suited me better—a world where I could build my own world alone. I simply enjoyed it. I enjoyed getting money and reactions for my drawings.

Taniguchi: So you entered the art world as an outsider, rather than majoring in fine arts and studying drawing or still life.

Yamashita: That’s right. I didn’t take the elite path in painting. It was almost entirely self-taught. I was a self-learner, exploring my own methods of expression.

Taniguchi: Even so, portrait drawing requires an element of performance, right? You need to capture a likeness, of course, but you also need to deform it humorously, engage with the customer, and have business sense.

Yamashita: First, nobody will sit for you if you don't attract them, so I became obsessed with making signs, example drawings, and props. I’d line up paintings of celebrities and famous people. As a special feature, I would show airbrush painting performances, emphasizing letting people see how I draw and enjoy it.

Taniguchi: I hear you won an incredible award in a portrait drawing contest, right?

Yamashita: Yes, the U.S. is the mecca for portrait drawing. Once a year, there’s a convention where artists who make a living solely from portraits gather from all over the country. When I participated, they rented out a hotel ballroom in Las Vegas, where hundreds of artists would spend about a week, sacrificing sleep to draw each other’s faces endlessly. It was a world competition, not just for the U.S., but also for artists from Japan, Korea, and other parts of Asia. There are various categories, but I won first place in the "Best Overall Work" category for the best portrait in the entire convention.

Taniguchi: That’s amazing. It’s interesting that despite winning such a major award, you haven't become "Ryohei Yamashita, the World's Portrait Master."

Yamashita: That’s true. I was happy to receive recognition in the genre of expressing people through art, but I never intended to make that my only specialty.

FM802 "ROCK THE SUMMER" Campaign Poster

From Commercial Writer to digmeout. From Illustrator to Painter.

Taniguchi: Tell us about your next step. You moved from Hakata to the Kanto region, right?

Yamashita: Yes, I joined an event agency for portrait work, and when that agency decided to open a shop in Kanto, I moved to Yokohama in 2002 by the agency's policy. I also started working on my own art gradually. I didn't have connections then, so I took any job I could find online, from design to illustration. The most frequent work I did was for commercial proofs, or "comp work." I was technically confident, so I worked as a comp writer for three years straight.

Working as a comp writer, I was stuck in a world where work went to those who could do it quickly and cheaply, and I always felt a dilemma. After a while, the comp work itself started to dry up, reaching a point where I could barely make a living. That’s when I took a moment to reflect. I immediately took all the ideas I had saved up and began expressing them as artworks. My work had temporarily stopped, which gave me time to paint. If that hadn't happened, I might still be "Yamashita, the Comp Writer."

So, I decided to immediately publish the roughly 20 works I had created. I looked online and started submitting my works to an art site in the Netherlands, where I began receiving positive feedback. I kept painting, uploading the works, and getting evaluations.

That path led me to digmeout. I was already subscribed to the digmeout newsletter, and I received an email saying, "digmeout is starting an online audition today." I registered my works immediately after getting the email, and Mr. Taniguchi contacted me by noon. (Laughs.)

Taniguchi: That was "Audition Everyday." It was an online audition run by digmeout, FM802’s artist discovery site at the time. Your story reminds me that we were thinking, "We need to do more for artists." We started "Audition Everyday," not just one annual exhibition audition. The pitch was, "Just send us your website address, and we'll look at your work." We got flooded with submissions, and yours was one of the very first, maybe the first or second. Of course, I had to contact you! We then asked you to create the visual for that summer's FM802 campaign, "ROCK THE SUMMER." It immediately became the visual for the "MEET THE WORLD BEAT" festival at Expo Park, and even a Nissan car was painted with it—it was a huge hit. You got paid, were invited to Osaka, and your visuals were displayed in front of 20,000 spectators at Expo Park...

Yamashita: I even met the performers at the outdoor concert, like Fumiya Fujii and Mika Nakashima—it was suddenly like being in show business. (Laughs.) I got to talk to Superfly, too.

NIKE ID “WAZZAWALL” Visual (2008)

Taniguchi: Our relationship with you began after that, including work for Nike. Back then, your work was digital, right? You were incredibly fast!

Yamashita: Well, I was a comp writer. (Laughs.)

Taniguchi: Exactly. (Laughs.) You were certainly well-trained; your comprehension was amazing, and you were fast. I felt we had found a true talent we could confidently present to sponsors. I remember working with you so much that we’d try to use Yamashita whenever there was an opening. I think your catchphrase back then was "Yamashita the Illustration Master."

Yamashita: Yes, that’s right. It had a craftsman-like meaning to it.

Taniguchi: When we did the Nike work together, you had your first solo exhibition at the digmeout ART & DINER in Amerikamura. Your work was still digital then, wasn't it?

Yamashita: That was my hybrid period. I would print a digitally drawn piece and add to it with paint on top. Unfortunately, the paintings didn’t sell, but that's when I became conscious of myself as "Ryohei Yamashita, the Painter."

At the time, I thought the only way to make money from art was by taking commissions. Exhibiting and selling my own artwork felt like a world unrelated to me. But experiencing the solo exhibition—where people intentionally came to see my paintings, offered feedback, and became fans—made me realize that this feeling might eventually turn into income.

No works sold at the first solo exhibition in Amerikamura, but I resolved to continue my career as an artist. When the first painting finally sold, I was so incredibly happy—it was an overwhelming joy. My spirits soared, and I thought, "If I can work for this feeling, being an artist is great." Of course, it’s not all good things, but I felt I could continue as long as I had that moment. As I held more exhibitions, sales gradually began to increase.

The word "Dynamism"

“It was a gift from my customers.”

Taniguchi: One of your catchphrases is "The Artist Who Paints Dynamism." Could you tell us what you personally think about that word, "dynamism" (yakudō)?

Yamashita: I didn't realize the word "dynamism" myself. Once I started presenting my work, the words coming back from everyone were, "Yamashita-kun’s paintings have a sense of dynamism, they have movement." When I looked back, I thought, "That's true." What I painted because it felt good resulted in that. I decided to keep using the word "dynamism" as my selling point. The word "dynamism" was a gift from my customers.

Taniguchi: You were actually an athlete, weren't you?

Yamashita: I ran short distances in middle and high school. I believe there is truth in the scenery I saw there, the world I saw while running, and the fine details of movement.

Ryohei Yamashita’s Artwork for Tarzan Magazine Cover

Taniguchi: One of your famous works is the cover of Tarzan magazine. You've painted quite a few issues, right?

Yamashita: Yes, the work for Tarzan opened up my world.

Taniguchi: As an athletic painter of dynamism, Tarzan must have been a goal. What kind of presentation did you make?

Yamashita: My first encounter with Tarzan was actually for medical illustrations. Since my time as a comp writer, I had received requests from doctors to draw muscles and bones. The Tarzan editor who saw that first gave me work drawing muscles. It was close to an illustrated diagram.

Taniguchi: Tell us about the process from being a comp writer to creating those dynamic covers.

Yamashita: I drew the muscle illustration in 2003, and the first cover was in 2011—it took eight years. During that time, I continued to receive illustration work. But as an artist, my painting style changed after 2008. The editor who saw my evolution said, "Okay, please do the cover." I was thrilled, of course. (Laughs.) A cover! Since then, I’ve painted about six covers.

Taniguchi: That’s where you successfully branded Yamashita the Dynamist with Tarzan. While an illustrator is hired to draw upon request, there's also the world of the painter who draws what they want to draw and still gets work. When I spoke to Hajime Sakurai in a previous gallery talk, he said, "Even though I'm an artist, I provide a service to the viewer. I paint in the space between being an artist and an illustrator." What about you?

Yamashita: That’s right. I think I’m similar to Mr. Sakurai. Since I started as a street artist, I enjoy finding what makes the customer happy. For example, exaggerating this part will make them happy, or adding the customer’s hobby will please them. I think that initial service spirit as an eshi (painter) is alive in my illustration and client work. However, it's not just about that; what makes me happiest now is working with people who share a common understanding of my core expression—those who understand the dynamism and the world full of light in my work.

Ryohei Yamashita’s Design for the Yokohama Marathon Logo (2015) and Image Illustration

Taniguchi: Speaking of that line of work, your work for the Yokohama Marathon is truly magnificent, and I think it has helped build your brand. What was that experience like?

Yamashita: The Yokohama Marathon changed in 2015 to include general citizen participation, and a request for a competition came in. I was included as one of the symbol mark designer candidates. I won the competition, and when I was selected, I appealed to the editor: "I can also paint." I told them I'd done the Tarzan covers. When I pitched, "Please let me do the poster, too," they said, "Yes." (Laughs.) In the end, I was responsible for all the branding, including the mark, the medals, and the posters, from 2015 to 2021. I even did live painting at the finish line.

Starbucks Coffee Ekimarche Osaka Mural

Taniguchi: Live painting is another major feature of your work, isn't it? Being able to paint huge canvases is unique to you. I've asked you to do mural work for Starbucks and the Nike headquarters conference room. Could you tell us about the shift to this kind of work?

Yamashita: There was a project called "Sonic Art" at Summer Sonic in 2009, where artists painted live at the venue, and I was selected for it. That's when I started painting large-scale works. Since the live audience was watching directly, I literally felt like a rock star. When I painted images linked to the music, the reaction was great, and I think that experience was later applied to my mural work. The Starbucks job came up at that time.

Large-scale painting is a true physical battle. I was exhausted every day. I came to Osaka for the Starbucks job hoping to eat delicious food every day, but after a day’s work, I would just buy a convenience store meal and go to sleep. It was a week-long battle with the wall. That’s how much soul I poured into that piece.

Nike Japan Headquarters Conference Room Mural

Taniguchi: After hearing all this, Sasakan-san, I think you have an understanding of how Ryohei Yamashita rose to prominence. I believe there are many useful hints in what Yamashita-kun has done for other creators.

Sasakan: I was looking forward to meeting Mr. Yamashita for the first time, and although he appears cool, he is a “passionate person” who continues to pursue what he wants to do without giving up. I was deeply impressed by the story that his medical illustration work from 2003 led to the Tarzan cover eight years later. Knowing that he originally studied video, I wondered if that influenced his sense of dynamism.

Also, yesterday, an artist who came to Chignitta for a meeting on the exhibition's opening day took one look at Yamashita's pieces and immediately said, "I saw this at the Nike Japan headquarters." For a work to leave such a strong impression amidst everything people see every day—I think that speaks to Mr. Yamashita's skill. Since this is all new to me, I feel like I'm constantly learning.

Yamashita: Thank you. I am very happy to hear you say that.

Production Scene in Shonan Studio

“I put the wish that a fleeting moment would last forever into ‘HOPE.’”

Taniguchi: Now, about this exhibition, “HOPE.” It’s toured Tokyo and Hakata, and I saw the exhibition in Daikanyama. I felt it marked a major turning point for you. The size of the works has grown, the prices have increased significantly, and the audience response and sales results have been strong. I thought this was you breaking new ground as an artist. Could you tell us about the feeling or determination you put into this exhibition, "HOPE"?

Yamashita: The "dynamism" I paint captures a moment, right? I named it “HOPE” because it conveys the wish that that fleeting, brilliant moment would last forever. I put the thought that this wish lies behind the "dynamism" and "impact" into this title. I hope it will be an opportunity for people to view Yamashita’s work on a deeper layer.

The happiest thing about the Tokyo exhibition was that the works sold better than expected. Usually, when a solo exhibition ends, I worry about "How am I going to take these home?" or "What if too many are left over?" (Laughs.) But at the “HOPE” exhibition in Tokyo in 2020, about 70% sold. It was the first time I had so few pieces to take home. (Laughs.) Furthermore, when I held the exhibition in Hakata this January, 90% of the works sold. I hardly have any inventory left.

Taniguchi: The pressure is on for Osaka! (Laughs.)

Yamashita: Please! (Laughs.)

What I realized and was moved by through the “HOPE” series of exhibitions is that this is what it means to continue. I feel a great sense of accomplishment.

Taniguchi: When I stood in front of your work at the Tokyo exhibition, I felt, "His commitment is different this time." So, even though we hadn't decided to build the gallery at Chignitta at that point, I offered, "Let's do it here in Osaka." You accepted that offer, and now we have this exhibition. I hope everyone will take their time to view the works later, but this “HOPE” series has a new development that wasn’t in the earlier shows, right?

Collaboration with Kingdom

“The collaboration with Kingdom. I received the order directly from Mr. Hara.”

Taniguchi: This collaboration with the manga Kingdom is already a hot topic on Twitter and other social media, and many people have come to the exhibition specifically for it. How did this happen?

Yamashita: That’s right. It is unusual. You must be wondering why there are paintings of Ouki and Shin in this exhibition. I didn’t just paint them without permission. (Laughs.) These are two works that I had the honor of painting after receiving a direct order from Yasuhisa Hara, the author of Kingdom. Yes. It’s surprising, right? Why would Mr. Hara contact me?

To be frank, Mr. Hara is a fan of mine. (Laughs.) Mr. Hara and I actually graduated from the same university (Kyushu Institute of Design). He was two years behind me, and we didn’t interact much as students, but in 2018, there was a large alumni reunion for the university's 50th anniversary. Mr. Hara and I were included in the group discussion among the graduates who spoke on stage. I was very nervous. In the waiting room that day, as I was wondering how to approach him, he asked me, “Are you Ryohei Yamashita?” and said, “I have been a fan of your paintings for a long time.” (Laughs.) I was like, “Seriously?”

He told me he particularly liked the dynamism, light, and color expression in my paintings, and he even explained why. I had so many questions for him, but I was the one being peppered with questions: "How do you use acrylic paints?" or "How do you plan your color schemes?" He asked me various questions. I was genuinely happy. Being questioned by Mr. Hara helped me organize my own thoughts and made me consciously think about "how I paint" all over again. That was the first contact that led to my close relationship with Mr. Hara.

After that, we vaguely discussed collaborating someday, but it never came to fruition. This year is the 15th anniversary of Kingdom's serialization, and Mr. Hara suggested a commemorative collaboration. These two pieces were created as the starting point for that. I think the next developments will emerge as we see the reaction to these works.

Regarding the creation process, Mr. Hara didn't give me any specific requests; he told me to "Paint Kingdom freely as you imagine it, Yamashita-san." So, I went back and read the manga properly. (Laughs.)

Taniguchi: Besides Kingdom, this exhibition also features paintings of the sea. I feel there is a different approach here compared to your previous "dynamism" works.

Yamashita: I actually moved from Yokohama to Fujisawa in Shonan. I live in a place where I can see Enoshima and walk to the sea in about 15 minutes. It's the first time in my life that the sea has been so involved in my daily life, so the sea naturally started appearing in my motifs.

Taniguchi: When I saw this piece at your studio, the way the waves rush in and recede—each a fleeting moment yet constantly repeating—made me feel it was linked to the "moment" you mentioned earlier.

Yamashita: Almost none of my paintings are without a person in them. This time, I took the courage to eliminate the human figure in the work called “Blue Ocean.” The immediate image of Shonan is "surfers," and I thought putting a surfer in the painting might increase sales (laughs), but I resisted and painted it under the theme of "The Sea and Myself." I challenged myself to express the color of the sea and the look of the water's surface solely through my brushstrokes.

Taniguchi: I agree; this is one of those paintings I feel I could look at forever. Having it hung on the wall like this and confronting it makes it even better. Well, I think this exhibition is the finish line for Ryohei Yamashita in 2021. What will next year be like for you?

Yamashita: I generally don't have many self-driven goals about what I want to do. Instead, the next steps are often decided by the people I meet or the opportunities I receive at various junctures. Right now, the Kingdom project is significant, and I'm excited to see how that transforms next year. Also, my paintings are scheduled to be used as art for a very large film.

Taniguchi: That's incredible. If people don't collect your work now, they might only be able to see it in museums soon. (Laughs.) Do you have any final words?

Yamashita: Thank you all so much for today. With so many people gathered, I feel like a rock star. (Laughs.)

(The artist posing as a model on the Shonan beach near his studio.)