Chinatsu Ban’s work is especially popular among Japan’s liberal and feminist subcultures, a position which she further strengthened by illustrating the opening animation of a documentary television series on independent women and co-illustrating a children’s book which
encourages social independence in young readers.
From LOHAS to fans of the paranormal, the Japanese subculture scene has long been linked to dissatisfaction with and antagonism toward reality. This unease has grown more prevalent in the aftermath of 311 and the nuclear disaster, meshing artistically with surrealism to produce a desire for worlds which provide an escape from the nightmares of the present.
In this way, Ban’s works connect with the most vividly felt emotions of the modern Japanese woman and act as a source of powerful comfort.
|1997||Graduated from the Department of Oil Painting at Tama Art University|
|1973||Born in Aichi Prefecture|
|2009||“How To Eat an Elephant: One Bite a Day”, The Parco Factory, Tokyo, Japan|
|2006||“Focus: Chinatsu Ban”, Modern Art Museum of Fort Worth, Fort Worth, TX|
|2005||Doris C. Freedman Plaza Sculpture Installation, Public Art Fund, New York, NY
“Chinatsu Ban”, Marianne Boesky Gallery, New York, NY
|2003||Solo Show, Tomio Koyama Gallery, Tokyo, Japan|