Ikeda’s imagery gives nods to Japanese art and symbolism while folding in universal themes of suffering and hope in the face of natural and human-made disasters. Ikeda has exhibited in Australia, France, Germany, Italy, Korea, Russia, the United States, and beyond. While it depends on the size of his paper, many of his large-scale works take more than a year to complete. Using a nib pen-the same type often used for anime, less than one millimetre thick-he creates worlds upon and within worlds in acrylic ink on paper reflecting everyday objects, nature, pop culture, and more. Ikeda grew up in Saga Prefecture in the 1970s and ’80s, when Japanese anime was becoming more and more popular. “I want to draw an ocean on the entire surface.” “This is the largest work I have ever made,” Ikeda says in an interview with Stir, with Watanabe translating. Visitors to the museum are able to visit him in studio and observe him while he draws, the space open to the public on Thursday, Friday, and Saturday afternoons from 3 to 4:30 pm throughout the summer. Ikeda expects it will take him another two years to complete. The artist started working on his latest and largest multi-panelled piece in 2019, its turbulent, magnificent waves crashing and heaving.
Even long before Michael Audain and his wife, Yoshiko Karasawa, opened the Audain Art Museum in 2016, they dreamed of one day being able to hold an Ikeda exhibition. Jarislowsky curator, selected the artist’s works spanning two decades from public, corporate, and private collections in Japan, the U.S., Canada, and Hong Kong. Kiriko Watanabe, the museum’s Gail & Stephen A. It is also the museum’s first foray onto the international contemporary-art scene. Ikeda’s residency is part of Manabu Ikeda: Flowers from the Wreckage, the esteemed artist’s first major solo exhibition in North America, featuring more than 60 works from national and international public, private, and corporate collections. With his studio now set up in the AAM’s Upper Galleries, he will be drawing there until September 4, the large windows of the space looking out to an emerald swath of trees.
Ikeda will be drawing his largest piece ever in the inaugural role of Audain Art Museum’s artist in residence. His next work will take even longer-and comes with several firsts. Consider that it took him more than three years to create Rebirth, his signature piece to date, which refers to the Great East Japan Earthquake of 2011. The globally recognized Japanese visual artist crafts marvellously and meticulously detailed large-scale pen-and-ink drawings that hold much, much more than first meets the eye.
MANABU IKEDA IS not one for instant gratification.
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