Intimate Layers of Human Being

The Wild Lot tucked away on Shin Hing Street in the Sheung Wan neighborhood. Taking the narrow steps up to its attic, a comfy and homey vibe welcomes you. There are paintings sitting neatly on the couch. Sketches, brushes, paints, and tools randomly scatter on the floor, coffee table, and windowsill. Mizuki Nishiyama, who dresses in a long black dress, slowly walks over to introduce herself. Although she has been in interviews before, she still appears a little nervous behind her smile. In June this year, Nishiyama held her first solo exhibition in Hong Kong at the Whitestone Gallery in Central. The exhibition, which is called SHUNGA (a Japanese term for erotic art), has given a brand new definition of erotic art. “I like to dig into the core of humanity. When people come to my exhibition, they might think, ‘She is painting about sex!’ But no, this is not what I am doing. Although inspiration are stemmed from Shunga, a traditional Japanese form of erotic art on woodblock print, my paintings have nothing to do with sex. What I really want to explore is human fragility and intimacy. For that, I’ve chosen to paint in abstract forms with a darker tone, rough lines, and black strokes.” SHUNGA can be seen as a continuation of Nishiyama’s previous New York exhibition, An Exploration of Human Fragility: Love and Lust, which focuses on the subjects of intimacy and identity search.

Inspired by Italian poet Dante Alighieri’s Inferno of Divine Comedy, Nishiyama’s Love and Lust is a collection of tempestuous artworks that blur the boundary between reality and fantasy, and also a study on human body in various forms, such as contortions, overlaps, embrace and touch. Being one of Nishiyama’s most favorite works in the SHUNGA series, Dakko further explores the idea of embrace and touch. “Dakko is the Japanese word for embrace. It is the first word that a child would learn after birth. When children feel scared and tired, parents would embrace them and say, ‘Dakko. Dakko.’ It soothes and comforts the child.” The abstract figures in the painting could be seen wearing Kimono and in embrace. They look innocent, and their entwined bodies blend into the background. “I think what makes me vulnerable also makes me more human. We’ve all been through ups and downs. Knowing  what makes you feel at ease, what encourages you to move forward, or in contrary, what disappoints you is a process of self-awareness. That’s part of growing up” People tend to be more vulnerable in intimate relationships, or to be exact, they are more willing to show their vulnerable side. Nishiyama likes to analyze her own thoughts in order to build a higher self-awareness to herself, others and also the surroundings. She believes that in order to do so, a humbling and vulnerable approach to life must be taken.

Coming from a family of artists, Nishiyama grew up being immersed in various forms of art. Her mother, grandmother and granduncle are all painters. Each of them works with different mediums — her grandmother is a Japanese Nihonga painter who is particularly good at using natural mineral pigment (tennen iwa enogu in Japanese). Her granduncle paints with watercolor, and her mother paints with oil. “I often watched them paint when I was small. The smell of thinner would bring me back to my childhood because that was what my mother’s studio smelled like. My father worked in the fashion industry so I had a lot of opportunities to play with fabrics. My father is also a musician. I learnt a lot about music from him. My childhood experiences have shaped me into a person who can express herself through a whole variety of art. Art has become my second language. Sometimes I’d paint with my mother, but we are not the type who loves sharing a studio space with someone else. Plus I am a bit shy to show others what I’m working on. My style is very different from my mother’s. She is an abstract painter and loves painting landscapes. She’d spend a few months on a brush stroke. I am more obsessed with painting human bodies.” As a mixed Japanese artist of Japanese, Italian and Hong Kong heritage, Nishiyama speaks six languages and she jokes that she has multiple personalities too. “My personality changes as I switch between languages. When I am in Japan, I’d be more restrained; though the way I speak always betrays me as I could be quite aggressive. It’s probably because subconsciously I want to show people the different sides of me. New York is an uplifting and energetic place. I feel way more relaxed there. In Hong Kong, I am a quiet person. I feel at ease here and that allows me to take in the beauty of this city  slowly and carefully. I believe that everyone has different aspects of their personality. There are so many layers of human complexity. 

“Painting is an extension of self. Everytime I dip the brush in the paint, an energy is bestowed upon the brush to transform my experiences and emotions into various textures, colors, lines, and shapes. Painting is a way of responding to life and ultimately, making sense of my reality.” Nishiyama said that she dreamed of becoming a poet when she was a child, but over time, she realized that the dynamism of painting makes her feel complete. “I get anxious easily, and I have contradictory personalities that affect my works. The frustrating and sensitive aspects of life have taught me that everything is just part of the process.” Vulnerability is not a sign of cowardice. Being sensitive and vulnerable requires greater courage than simply arming up. When you suffer and feel lost, just remember that everything you come across is an opportunity to live.