Biography

Kaori Someya was born in 1977 in Shimane Prefecture. After both graduating from the Department of Painting (Japanese Painting Course) at the Faculty of Fine Arts in 1999 and completing her Master’s Program in Conservation and Restoration of Cultural Properties (Japanese Painting Conservation) at the Graduate School of Fine Arts of the Tokyo University of the Arts in 2002, she went on to work at the university as an Adjunct Instructor, Research Assistant and Assistant Professor. While attending graduate school, her work was selected for the In-ten Exhibition for the first time, a group exhibition featuring works of Japanese art by the general public that pursue tradition and innovation. After receiving the Incentive Award 7 times at subsequent  In-ten Exhibitions and 5 times at the Spring In-ten Exhibition, in addition to the Minister for Foreign Affairs Award at the Spring In-ten in 2013 and the Adachi Museum of Art Award at the In-ten  Exhibition in 2018, she became a Tokutai member of the Japan Art Institute. Known for her extensive research into Nihonga (Japanese painting) techniques and materials of the Edo Period, Someya creates her works based on themes such as people, flowers and birds, exploring traditional Japanese aesthetics of Hare (special days) and Ke (ordinary days), and has presented her works at numerous solo and group exhibitions to date.

Statement

Kaori Someya uses traditional Japanese painting materials to express women who are having tough time in Japan’s conservative contemporary society, but who are searching for ways of being and lives in the society.

Her work describes personal experiences of the gender gap in Japan, frustrations in it, a kind of resignation, sadness and anger narratively. Influenced by her mother, who used to make kimonos, and the experience studying mounting techniques such as hanging scrolls and folding screens, she explores a uniquely Japanese aesthetic Hare (special occasions) and Ke (ordinary days) through patterns and decorative expressions.

She researches books on classical painting techniques published in the 17-19th centuries in order to practice what traditions should be continued in the modernization of Japanese painting.