Zeitgeist, 2025
Print : digigraphy, Screen Print · 42.2 x 28.8 x 0.1 cm 16.6 x 11.3 x 0 inch
One of the last works available by this artist
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Shipped from: France
Delivery to: United States , $ 47
Estimated delivery: One to two weeks
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Verified Reviews : 9.6/10
About the artwork
Type
Print : numbered and limited to 250 copies
1 copy available
Condition
Artwork sold in perfect condition, not framed
Authenticity
Sold with certificate of Authenticity from the gallery
Invoice from the gallery
Signature
Hand-signed by artist
Technique & Support
Dimensions ( cm • inch )
42.2 x 28.8 x 0.1 cm 16.6 x 11.3 x 0 inch Height x Width x Depth
Sold by
Art gallery
Credentials
Vetted seller since 2017 • Top Seller
Description
This intriguing artwork depicts an android from behind, wearing a t-shirt bearing a yin-yang symbol adorned with the numbers 0 and 1, evoking the duality and harmony between humanity and technology. The contrast between its mechanical appearance and the casual attire symbolizes a fusion of modernity and spirituality. Above it, a twisted rope and white geometric shapes add a sacred and mystical dimension to the composition, suggesting a ritual or a higher connection. The masterful use of black and white intensifies the impression of balance. This powerful work raises questions about identity and the impact of technology in the contemporary world. Each element is carefully chosen to create a captivating visual narrative, prompting reflection on the future of coexistence between humans and machines.
Presentation
Shohei Otomo is a Japanese contemporary artist, illustrator, and sculptor born in Tokyo in 1980. A graduate of Tama Art University, where he initially studied oil painting, he quickly distinguished himself by a technique that became his signature: ballpoint pen drawing. By utilizing an everyday medium with exceptional virtuosity, he creates works of remarkable precision that question the contradictions of contemporary Japanese society. His work blends hyperrealism, illustration, manga, ukiyo-e, cyberpunk, street culture, and popular iconography, creating a visual universe where tradition and modernity confront each other.
Shohei Otomo's compositions feature geishas, yakuza, salarymen, soldiers, tattooed characters, or female figures inspired by classical Japanese aesthetics, revisited through a contemporary, often provocative and socially satirical vision. His work explores the tensions between cultural heritage, globalization, mass consumption, violence, identity, and underground culture. Through meticulous shading exclusively done with a ballpoint pen, the artist achieves a depth and richness of detail that have contributed to his international recognition.
The son of the famous manga artist Katsuhiro Otomo, creator of Akira, Shohei Otomo has developed an independent artistic identity, moving away from his father's narrative universe to build a personal plastic language. His work, deeply rooted in Japanese visual culture, draws inspiration from ukiyo-e prints as well as traditional tattooing, manga, anime, and contemporary urban movements.
Since the early 2010s, Shohei Otomo has regularly exhibited his work in solo and group exhibitions in Tokyo, Paris, Melbourne, Milan, Hong Kong, and Mexico. Among his notable exhibitions are Fool's Paradise (Melbourne, 2012), There Is Nothing You Can Do To Hurt Me (2017), Reiwa (Hong Kong, 2019), dedicated to the transition between the Heisei and Reiwa eras, as well as HEISEI, a project tracing the social and cultural changes of contemporary Japan. In parallel with his drawing practice, he has been developing a production of sculptures for several years, broadening his artistic expression.
Shohei Otomo also collaborates with many international brands and institutions such as Google, agnès b., G-SHOCK, Carhartt, Sony PlayStation, or BAPE, while pursuing a career as an artist exhibited in international galleries and fairs. Today, he is considered one of the major figures in the contemporary Japanese art scene, recognized for his exceptional technical mastery, his critical approach to society, and his ability to reinvent the codes of contemporary illustration through an immediately recognizable graphic language.
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