Urashimo taro’s journey of love, 2022
Sculpture : stainless steel · 80 x 50 x 50 cm 31.5 x 19.7 x 19.7 inch
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Shipped from: France
Delivery to: Germany Free delivery
Estimated delivery: Less than one week
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Verified Reviews : 9.6/10
About the artwork
Type
Sculpture : numbered and limited to 8 copies
1 copy available
Condition
Artwork sold in perfect condition
Authenticity
Sold with certificate of Authenticity from the artist
Invoice from the gallery
Signature
Engraved signature
Technique & Support
stainless steel , without pedestal
Dimensions ( cm • inch )
80 x 50 x 50 cm 31.5 x 19.7 x 19.7 inch Height x Width x Depth
Sold by
Art gallery
Credentials
Vetted seller since 2014
Description
Within the series “Kokeshi Fusion: Jimmy Yoshimura’s Pop Art Showcase,” Jimmy Yoshimura unfolds a singular vision in which Japanese tradition is reconfigured through the radiant prism of contemporary Neo Pop. The works “Otohime’s: Princess of the Deep” and “Urashima Taro’s Journey of Love” form a sculptural diptych inspired by a well-known Japanese folktale, here transformed into iconic figures where narrative, material, and light engage in a dynamic dialogue.
Crafted in polished and tinted metal, these sculptures immediately captivate through their mirror-like surfaces—both seductive and destabilizing. This choice is not merely aesthetic; it actively integrates the viewer into the work, making them a literal part of its reflection. Yoshimura thus reinterprets the traditional function of Kokeshi—objects of folk art—into contemporary totems that continuously reshape identity and perception.
“Otohime’s: Princess of the Deep” embodies an almost mythological presence. Its rounded silhouette, softened by fluid volumes, evokes oceanic depths and a form of protective, almost sacred femininity. The iridescent tones—shifting between deep blue, violet, and rose reflections—suggest a fluid, elusive underwater realm. The sculpture does not simply depict a character; it conveys a state of being—an inner world where time appears suspended.
In contrast, “Urashima Taro’s Journey of Love” adopts a more structured, almost heroic stance. The angular elements of the helmet, inspired by warrior iconography, introduce a tension between narrative softness and determination. The chromed metal, infused with electric hues, conveys movement, transition, and transformation. Where Otohime draws inward toward depth, Urashima embodies motion, quest, and loss.
Together, these two sculptures articulate a fundamental duality: stillness and journey, memory and desire, myth and contemporaneity. Yoshimura does not merely reference Japanese culture—he reprograms it into a global visual language where folklore meets pop aesthetics, and where sculpture becomes simultaneously narrative, decorative, and conceptual
The “Kokeshi Fusion” series reveals a fertile tension between heritage and modernity. By hybridizing the ancestral forms of Kokeshi dolls with ultra-contemporary industrial finishes, Yoshimura presents Japan as a space of constant transformation. His works become pop icons, yet also psychological surfaces of projection, inviting viewers to reflect on their own relationship to time, love, and memory.
Through this controlled fusion, Jimmy Yoshimura asserts a powerful artistic signature—one that brings together intimacy and spectacle, ancient storytelling and contemporary desire, within an aesthetic that is at once luminous, immersive, and deeply symbolic.
Presentation
Jimmy Yoshimura is a Japanese painter born in 1981 who currently lives in Tokyo. He studied industrial design and started a career in an advertising design agency. He was also passionate about painting, which he in practiced in parallel to his job, during his free time. His first drawings depicted mostly portraits of women of different ages and times. He uses photographs of another time and contemporary representations of manga creating this way a confusing association. This way, he confronts the cultural evolutions that has taken place. He contrasts the traditional values of his ancestors with new contemporary codes, which have a Western influence. In order to attain his purpose, he incorporates Japanese texts, reinforcing the Manga iconography. His work has been exhibited numerous times in Japan and throughout the world.
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