Shingo Yamazaki is a Honolulu-born artist whose work addresses the complexities of cultural hybridity, identity, and the meaning of “home.” His work captures a rich mixture of Hawai‘i’s cultural nuances and iconography along with his own personal history as a mixed Korean and Japanese American. By intertwining his personal story with the familiar motifs of daily life, Yamazaki transforms the discrete concept of home into a vessel for collective identity, inviting viewers to partake in these dialogues of everyday existence.
Shingo Yamazaki studied at the University of Hawai’i at Mānoa and received a Bachelors of Arts focused in Painting. His work has been shown in recent exhibitions at Sow & Tailor, Los Angeles, Steven Zevitas Gallery, Boston, and Richard Heller Gallery, Los Angeles. Yamazaki has been a recipient of the Innovate Grant, finalist for the Hopper Prize, and won the First Place Award for the Association of Hawai’i Artists “Aloha Show.” He has been featured recently in publications such as Flux Magazine Issue 45, New American Paintings Issue 163, BOOOOOOOM ‘Tomorrow’s Talent’ volume II, and Friend of the Artist Volume 13. Shingo currently lives and works in Los Angeles.
What is one mantra that you live by in regards to your practice as an artist?
One of the conversations that I really held close was with one of my college professors who told me to trust the process. Making artwork takes an enormous amount of intimate time with your work, and trusting that process to fully develop the work is critical.
How does family influence your artwork?
Family influences my practice in many different ways. A lot of my work is interconnected with my upbringing in Hawaii, and naturally a lot of family members do show up as a way to share personal stories of nostalgia and cultural hybridity.
What is your creative process and how has it evolved?
Typically, I begin with a rough sketch, either digitally or on paper, exploring different compositional avenues. I am intrigued by themes of invisibility and cultural hybridity, incorporating motifs that play with transparency to evoke vulnerability within the comfort of “home.” My approach has evolved as I experiment with transparency and narrative dialogue to convey the coexistence of diverse cultural influences.
Who is somebody currently living that you have the most respect for in the art world?
I find it difficult to determine a single person I can choose from, however I have a lot of admiration for Kerry James Marshall.
What is the most interesting art fair that you have been to or heard about that you would like to attend?
I really enjoyed Felix Art Fair, seeing how people are creative with their choices of how to show the work. I would love to go to Art Basel in Hong Kong someday.
What new institutional collection would you like to be in?
I’m not particularly knowledgeable with institutional collections, however what comes to mind at the moment is the K11 Art Foundation collection.
Describe what an ideal space would look like for one of your artworks to reside in
I envision the ideal space to be in a beachside estate with a lot of natural light.
Which artist or artists would you like to be in a group show with in the future?
Kyle Dunn, Rae Klein, Dominique Fung
If I were to take you to a city of your choice, what city would it be and which three art initiatives would you like to visit?
I’d like to visit Korea, since I have a very shallow understanding of my lineage and cultural connection, however I’m not too familiar with art initiatives in the area to be honest.
What part of the art ecosystem excites you the most for the future of your practice?
I’ve been enjoying initiating studio visits lately, and not only seeing the works in progress but just simply engaging in conversations and fostering meaningful relationships with other artists that I admire.
