The first ukiyo-e woodblock print for the 20th anniversary of the release of “Ghost in the Shell: Innocence”
The story of “Ghost in the Shell 2: Innocence” takes place in 2032. People have experienced networkization and realized digital communication through the Internet, without the need to speak or type on a computer terminal. At the same time, the trend toward modifying the human body leads to the coexistence of humans, cyborgs, and robots.
Following the 1995 classic “Ghost in the Shell” and the latest “Ghost in the Shell: SAC_2045”, “Ghost in the Shell 2: Innocence” gets its own ukiyo-e print for the first time.
About the creation of Ukiyo-e woodblock prints
Ukiyo-e is a representative of Japanese traditional crafts. However, the entire industry is on the brink of crisis, with the number of craftsmen across the country who continue to pass on this traditional Edo period technique dwindling to just a few dozen.
Despite efforts to cultivate a younger generation, the reality is that daily production and demand for necessary raw materials are decreasing, resulting in a decline in the total number of artisans.
We work with craftsmen (painters, engravers, and printers) who continue to pass on these traditional woodblock printing techniques to introduce the beauty of ukiyo-e to people around the world from a new perspective by combining traditional craftsmanship with ghosts. By doing so, we hope to contribute to the preservation and development of this revered Japanese craft.
We aspire to provide you with the essence of traditional Japanese craftsmanship.
Main features of this work
Why do we choose women in Ukiyo-e designs instead of the main character Bart or the most iconic character Motoko Kusanagi?
“Ghost in the Shell: Innocence” revolves around the investigation of a murder caused by the malfunction of the Hadari 2052 female robot, a humanoid female robot designed for entertainment. Through this investigation, the film explores the philosophical aspects of the relationship between “people” and “dolls” and the connection between “soul” and “body”. The shot of femininity that appears in the scene of the unforgettable conversation with forensic investigator Haraway is truly emblematic of the film. Therefore, we chose it as a subject for Ukiyo-e woodblock prints.
We invite you to appreciate the essence of the universal philosophy at the heart of the film through the ukiyo-e woodblock prints, carefully handcrafted by craftsmen.
Why did we choose floating frames?
The piece is framed using the floating method, which creates space on all sides of the piece, giving the impression of being suspended within the frame. In the aforementioned scene, a number of female robots are sealed and suspended in preservation fluid for autopsy. The floating framing is not only reminiscent of scenes like this, but is also considered the most effective way to emphasize the emptiness and lack of soul within the figures.
Grid explanation
I wanted to create frame art purely because Ghost in the Shell and Ghost in the Shell: Innocence are two of my favorite movies. While I have created various framed pieces in the past, I wanted to do something different for this piece. A recurring theme in my work is shrines and I wanted to incorporate these shapes into this framework. When I was thinking about what kind of shrine to choose, I was reminded of festival scenes in movies where floats roll through the city. The temple on the float has a unique Chinese feel to it with its elaborate roof, which I wanted to use as one of the themes. The decoration on the roof is somewhat colorful, so I thought it would be fun to create contrast with acrylic colors.
Another theme I wanted to convey within the frame was the Asian plaid pattern. In the film, this pattern is scattered throughout the background, placed symbolically in various important scenes, in a way that seems to blend seamlessly with European Gothic architecture. I don’t know if the story takes place in Hong Kong or somewhere else, but the chaotic element in the background is appealing and I tried to reflect that in the image.
Engraver: Kayoko Suga
After graduating from high school, she applied to become an apprentice craftsman at the Arakawa Craftsman Training Program in Arakawa Ward, Tokyo. After seven years as an apprentice to an Edo print engraver, she became independent. Currently, as one of the few female craftsmen certified by the Ministry of Economy, Trade and Industry, she contributes to the cultural heritage of ukiyo-e with her outstanding skills.
Displayed at the Oedo Happy Wild Naga Exhibition held at the Edo-Tokyo Museum in 2003
Displayed at the Meisho Edo 100 Views Kansei Anniversary Exhibition held at the Nihombashi Mitsukoshi Store in 2005
Displayed at the Hokusai Manga Exhibition at the Edo-Tokyo Museum in 2008
Member of the Ukiyo-e Engraving and Printing Technology Preservation Association
Member of Tokyo Traditional Printmaking Association
printer: Okada Takuya
Born in Ibaraki Prefecture in 1983
After graduating from high school, he studied Buddhist sculpture at the Kyoto Super University of Traditional Arts, and after graduation he studied printing at Watanabe Kisaka. In 2012, he became independent.
He has a career of about 8 years and possesses excellent printing skills.
Watanabe Kihan is a representative publisher of new prints, represented by artist Rensui Kawase. There, Okada mastered various techniques commonly used in new printmaking, such as blending and blurring. In this work, he proposed techniques for spraying and attaching gold and platinum. In addition to traditional techniques, he is a new generation printer who is actively committed to exploring innovative printing methods.
He is a craftsman certified by the Agency for Cultural Affairs as having the skills to protect selected intangible cultural properties.
Member of Tokyo Traditional Printmaking Association
Calligrapher: Ryoko Fujiura
shape: Tomoichi Fujita
Born in Chiba Prefecture in 1976
Graduated from the Woodworking Department of Hida International Polytechnic College
Awards
Selected for the 24th Taro Okamoto Contemporary Art Award
exhibition
2015: Group exhibition “TENGAI 2.0” curated by Hisashi Tenmeiya (Roppongi Hills A/D Gallery, Tokyo)
2016: Solo exhibition “The Story of Birth from Wood – A collaborative exhibition between contemporary artist Tomokazu Fujita and the prefectural art collector” (Chiba Prefectural Museum of Art)
2017: Solo exhibition “Various Dignities” (Chiba Bank Himawari Gallery, Tokyo) and group exhibition “110th Anniversary of Mitsukoshi Art – HOPES – Next Generation Selection Exhibition” (Nihombashi Mitsukoshi)
2018: Solo exhibition “Man of the Castle” (Marunichi Gallery, Tokyo)
2019: Solo exhibition “Unrealistic Honor” (Wuwen Gallery, Tokyo) and group exhibition “Eve of Break Exhibition – Next Generation Artists” (Roppongi Hills A/D Gallery, Tokyo)
2020: Solo exhibition “Fuso Country” (Art Gallery X, Nihombashi Takashimaya)
2021: Group exhibition “The 24th Taro Okamoto Prize Contemporary Art Exhibition” (Taro Okamoto Museum, Kawasaki City)
2023: Solo exhibition “NEO TOKYO” (Art Gallery X, Nihombashi Takashimaya) (Gallery Next, Osaka Takashimaya)
information
I was born and raised in Japan.
I was eager to gain a deeper understanding of my own country before turning my attention abroad. I have visited shrines, temples and traditional Japanese architecture all over Japan.
As I travel to different places again, I find myself pondering some questions. How have shrines and temples evolved historically and adapted to changing times? How do architectural styles respond to the influence of science and other civilizations? How do people participate in and practice their beliefs in religions such as Buddhism and Shinto? How do rulers use religion as a symbol of authority to capture the hearts and minds of the people?
To answer these questions, I interweave traditional architecture and historical events, reimagining and expressing them through the use of contemporary materials and craft techniques in my artwork.
Product Information
Pure Ukiyo-e woodblock prints
“Ghost in the Shell 2: Unsullied” Standard Box Edition
Price: 65,000 yen + tax and shipping
Quantity: Limited to 300 copies worldwide
Comes with framed box and Ukiyoe woodcut certificate
Size: Picture (width: approximately 243 mm × height: approximately 363 mm)/frame (width: approximately 432 mm × height: approximately 547 mm × depth: approximately 40 mm)
Frame: Wood, plywood back frame
Mat: paper
Washi: Echizen Kizuki Hosho by Iwano Ichibei, a living national treasure
Sculptor: Kayoko Suga
Printed by: Takuya Okada
Artwork delivered in original Ukiyo drawing frame.
It comes with a certificate certifying that it was produced using traditional ukiyo-e woodblock printing techniques.
Pure Ukiyo-e woodblock prints
“Ghost in the Shell 2: Unsullied” Special Box Edition
Price: 450,000 yen + tax and shipping
Quantity: Limited to 30 copies worldwide
Comes with framed box and Ukiyoe woodcut certificate
Size: Picture (width: approximately 243 mm × height: approximately 363 mm)/frame (width: approximately 463 mm × height: approximately 560 mm × depth: approximately 60 mm)
Sales website: AKIHABARA PREMIUM COLLECTION
Website: akihabara-premium.com
