Pictures of Seasonal Changes in Dress 四季遷衣図(しきせんいず)(left byobu), 2026
Pair of Two-Panel Folding Screens: Gold Leaf, Silver Leaf, Mineral Pigments, Dye, Washi Paper, and Animal Glue
H70 7/8 x W141 3/4 x D3/4 in overall (H180 x W360 x D2 cm overall)
(A30748)
Photo: Copyright The Artist
Courtesy of Ippodo Gallery New York
Hallmarks seen throughout Someya’s work are the kimono and four seasons, both of which are highlighted in the exhibition centerpiece Pictures of Seasonal Changes in Dress. Two women are facing each other, yet remain separated. A kimono of crimson red, murasaki purple and sunset orange, and vibrant bamboo greens embodies both winter and spring, while the opposing figure, enveloped in pastel blues and pinks, depicts summer and autumn. Someya refers to the four seasons as indication of the passage of time. With no bridge between them, the two figures are adrift from one another, apparent in their sadness and longing for immutability. Someya comments on her position at the borderline between tradition and innovation, and the inevitability of choice therein. These material and compositional decisions speak to her greater reflection on the complexities of womanhood and unmoored feeling that the world never stops changing.
Pictures of Seasonal Changes in Dress 四季遷衣図(しきせんいず)(right byobu), 2026
Pair of Two-Panel Folding Screens: Gold Leaf, Silver Leaf, Mineral Pigments, Dye, Washi Paper, and Animal Glue
H70 7/8 x W141 3/4 x D3/4 in. overall (H180 x W360 x D2 cm overall)
(A30748)
Photo: Copyright The Artist
Courtesy of Ippodo Gallery New York
Hallmarks seen throughout Someya’s work are the kimono and four seasons, both of which are highlighted in the exhibition centerpiece Pictures of Seasonal Changes in Dress. Two women are facing each other, yet remain separated. A kimono of crimson red, murasaki purple and sunset orange, and vibrant bamboo greens embodies both winter and spring, while the opposing figure, enveloped in pastel blues and pinks, depicts summer and autumn. Someya refers to the four seasons as indication of the passage of time. With no bridge between them, the two figures are adrift from one another, apparent in their sadness and longing for immutability. Someya comments on her position at the borderline between tradition and innovation, and the inevitability of choice therein. These material and compositional decisions speak to her greater reflection on the complexities of womanhood and unmoored feeling that the world never stops changing.
Slow and Steady Progress 徐行漸進(じょこうぜんしん), 2026
Four-Panel Folding Screen: Silver Leaf, Mineral Pigments, Platinum Powder, Washi Paper, and Animal Glue
H59 1/2 x W119 3/4 x D3/4 in overall (H151 x W304 x D2 cm overall)
(A30749)
Photo: Copyright The Artist
Courtesy of Ippodo Gallery New York
Someya represents the resilience demanded of modern life and the tireless march forward of society; a restrained power hides within the byobu folding screen in the form of the snail: a classic Japanese symbol of summertime and patience. Situating the viewer behind the folding screen, Someya deploys silver leaf using the back-mounting urahaku technique for the surface of the screen to emphasize the Japanese concept of “ura” or the hidden world and private life of each individual. At one break between the zig-zagging walls, the snail creeps along an unpaved path.The time-honored motif serves as a messenger: continue on the uncharted course. All of these symbols highlight the key concepts in Someya’s oeuvre:women face many challenges, but maintain the perseverance required
to reach meaningful change.
WAKI “Harmonious Atmosphere” 和氣, 2007
Turfan Cotton, Reactive Dyes / Original soak dyeing, Rō-zome with stencil
H43 1/4 x W43 1/4 x D3 1/8 in. (H110 x W110 x D8 cm)
Leaves of Words: Satoshi Nemoto, Tsuneo Nakazawa, Shinya Yamamura
October 30 – December 5, 2026 Opening Reception with Artists Satoshi Nemoto andTsuneo Nakazawa: October 30, 6-8pm (kindly RSVP)
Artists Talk with Satoshi Nemoto andTsuneo Nakazawa: October 31, 1-2pm (kindly RSVP)
We are pleased to present Leaves of Words, on view October 30 to December 5, 2026. Three masters delve into modern interpretations of Japanese script in three unique materials: calligraphy written by Satoshi Nemoto, forged iron sculpted by Tsuneo Nakazawa, and raden lacquer inlaid with mother-of-pearl by Shinya Yamamura.
“Japanese poetry takes the human heart as its seed and grows into myriad leaves of words.” Preface to the Kokin Wakashū, the earliest kana anthology written by the author Ki no Tsurayuki c. 905.
Kana emerged in the ninth century, when Japanese writers began abbreviating Chinese characters into a phonetic script of their own. In the Heian court, it flourished as the language of poetry and love letters—supple, cursive, and written in a single continuous breath; as much drawing as writing. A thousand years later, kana remains the writing of ordinary Japanese life while retaining its artistic origins. The exhibition features Nemoto’s original works of calligraphy written in Japanese kana, the strokes of each character overlayed and flowing. Nakazawa sculpts kana—from works written by Japan’s historical figures—in iron with inochige (“life brush”): a calligraphy term referring to the continuity of the line. Each work is fluid and unbroken in metal. Yamamura meticulously integrates the script into his tea caddies and incense boxes using traditional mother-of-pearl inlay.
To RSVP to the reception, click here and to RSVP to the artist talk, click here.
September 10 – October 17, 2026 Opening Reception with Artist: Thursday, Sept 10, 5-8pm (kindly RSVP)
Artist Talk: Saturday, Sept 12, 1:30-2:30pm (kindly RSVP)
We are pleased to present Kaori Someya: The Light Within, the Nihonga painter’s debut solo exhibition during Autumn Asia Week New York, on view from September 10 through October 17, 2026. The exhibition opens on Thursday, September 10, from 5–8pm, with the artist in attendance, visiting from Tokyo especially for the occasion.
Someya’s paintings apply the thousand-year-old technique of urahaku, or the backing of transparent washi paper with gold and platinum leaf, instilling her paintings with an inner radiance. Someya uses the traditional medium of Nihonga as a way to explore the complex existence of women in contemporary Japanese society, depicting female figures in vibrantly patterned traditional kimono, their expressions caught between serenity and resignation. In doing so, Someya works to explore the tension women face between external societal pressures and the internal desire to preserve one’s beliefs and identity.
We are delighted to welcome Kaori Someya to New York to celebrate her debut solo exhibition at Ippodo Gallery. In addition to joining us for the opening reception, Someya will give a special artist talk that Saturday, offering insights into her Nihonga painting process and her exploration of themes of gender and society. We look forward to welcoming you to the exhibition and sharing this special presentation of Someya’s luminous work with you during Autumn Asia Week New York!
To RSVP to the reception, click here and to RSVP to the artist talk, click here.
Ippodo Gallery is a cultural bridge to Japan’s living master artists. Founded in Tokyo (1996-), the New York gallery (2008-) presents fine handcrafted and rare works created using traditional materials and methods. Each piece selected embodies Japanese aesthetic sensitivity that is born of a spiritual bond with nature. Ippodo’s exhibition program features unique objects — fine ceramics, lacquerware, metal crafts, sculpture, paintings, and works on paper — that celebrate human invention, the natural world, and sublime beauty.
