Residencies

Arts Itoya Painting Progress Pics!

I often get asked about my studio practice and processes, so I like to share some photos of how my artwork develops! Here are progress images from my Arts Itoya residency in Japan. Note that I do not take the time to precisely color adjust progress photos, and they are often taken in poor lighting conditions (late at night) and sometimes at angles. I also can forget to pause to take pictures when I’m in a rush!

First, here’s Duality:

Next, Pursuit (Ichi-go Ichi-e):

Then we have Lifelong Renter:

Shingling:

Messenger:

And finally, Fleeting:

Arts Itoya Painting 6: Fleeting

I had mostly finished this painting in time to exhibit it at Arts Itoya, but I knew I wanted to work back into it before declaring it actually complete. Once I returned home from Japan, got past the jet lag, and had a bit of time remaining before the school year started, I tweaked a number of areas until I was truly happy with the resulting piece.

This is Fleeting, acrylic on decorative Japanese stationery, 10.7x10.7”, 2024. It depicts a male crimson marsh glider (Trithemis aurora), also called a crimson dropwing, in flight above water.

Shelby Prindaville's acrylic painting of a male crimson marsh glider.

Shelby Prindaville's acrylic painting of a male crimson marsh glider.

Final Days in Tokyo

After my day trip to Yamanashi City, I spent my last few days in and around Tokyo. It was blazingly hot with heat advisories each day (around 100°F/38°C with 100% humidity), so I tried to mostly stay indoors during 12-4pm if possible. I visited teamLab Planets (an immersive museum experience) one morning, stopped by the Shibuya scramble crossing during the evening, attended another washi paper workshop at Ozu Washi, and tried to return a defective titanium panel to Pigment Tokyo… but they unprofessionally refused to repair or refund it (so now I recommend you stay away from Pigment Tokyo - go to Ozu Washi instead!).

On my last full day, I took a trip to Yokohama’s Zoorasia, one of Japan’s newest and largest zoos, to try one final time to see an adult tanuki (rather than ancient tanuki like Immako and Mirai). I arrived at Zoorasia before it even opened and proceeded towards the tanuki enclosure, but it was already around 95°F and they were snoozing when I got there. After hanging out for about two hours, though, I finally got to see a healthy adult tanuki and took a few nice photos! I also really enjoyed seeing Zoorasia’s proboscis monkey exhibit. I then visited the Museum of Contemporary Art Tokyo in the afternoon.

Before I knew it, my time in Japan had come to a close and I packed up a final time to head back to Sioux City. Due to the day/night cycle and when my flights were scheduled, I was in for approximately 31 hours between when I woke up to when I’d reach my house. I’ve learned I start to hit a wall around hour 22-24; fortunately for me, around hour 24 I had arrived in Chicago, gotten through customs, and had a couple more hours of layover before departure. I found a flat bench and took a 30min nap followed by just resting for another 15min or so, which was such a help.

Once I did get back home and unpacked, only one porcelain souvenir (a soup bowl) broke in my luggage, which was an acceptable loss given how much porcelain I brought back! Weeks later, my residency friend Emily mailed me a very snazzy canvas tote bag silkscreened with her residency logo design.

Overall, this was a really fabulous residency and first visit to Japan. I plan to continue to make artwork inspired by these travels, so stay tuned!

Yamanashi City - Our Sister City!

Returning to my summer travels - after I took the shinkansen from Kyoto to Tokyo, the next day Morningside University board member Mia Sudo and I took a day trip to Sioux City’s sister city in Japan: Yamanashi City! I had the honor of meeting the Yamanashi City delegation last fall during their visit to Morningside, and at that time I gave a short speech in Japanese welcoming them and then a slightly longer one in English describing the Morningside Art Department.

Mia was so kind - she put in work ahead of time arranging our transportation and schedule, and then she picked me up from my hotel and accompanied me throughout the visit and even translated for me when my Japanese was insufficient. I really appreciated her support of me and by extension Morningside University!

Yamanashi City welcomed me with open arms - literally and metaphorically! It was lovely to get to see the mayor and other delegation members again as well as meet additional city hall staff. Amongst several other very nice presents, I was gifted with a custom katakana stamp of my name, which was an extremely thoughtful, generous art gift which I will be definitely making use of! After exploring more of city hall, we where whisked away to tour more of Yamanashi City, including a sake brewery (and lunch!), a class visit with 5th grade students where I was allowed to join in on their lesson practicing Japanese calligraphy, a Mt. Fuji photo opportunity, a visit to a local museum and its gardens, and their zoo. Yamanashi City is warm and vibrant, and the people are so very kind!

Kyoto, Nara, and Osaka

After leaving Takeo, I took a train to Fukuoka and then a shinkansen (a bullet train) to Kyoto. When I arrived, it was about 3:30pm, which was good timing as I could head directly to my ryokan guest house as check-in started at 3pm. As I was walking there, I saw a street market mostly en route. I asked a passerby if it was a regular event or just today, and she said it was just for today. I decided to walk through it, and it was a local crafts market so I was happy to get to check it out! As I was doing so, people began to start packing up for the day, but I saw probably 70% of the vendors. Then I checked into the ryokan. This was the only ryokan I had booked, as I wanted to try staying in traditional tatami mat and futon set-up. It was great to sleep in, but I did miss having surfaces to put belongings on other than the floor or super low table; I discovered that, overall, I prefer a Western-style room. After I got situated, I went back out and walked around the neighborhood and found a vegan restaurant for dinner!

The Fushimi Inari bamboo forest.

My first full day in Kyoto started off rainy. I had breakfast at a different vegan cafe (where many of the waitresses were artists and we bonded over our shared love!) and then headed to Fushimi Inari Taisha, a famous Shinto shrine. The entrance and early part of the shrine complex were full of tourists, but I managed to set out on a small forested trail which no one else was brave or foolish enough to attempt. In the beginning, it was pretty cool to get away from the crowds, but towards the middle I started to wonder if I was making poor life choices as the trail got pretty steep (and it was very wet); going up it wasn’t too bad but I was already not fancying going back down. Towards the back half, there was a beautiful bamboo forest and I met the tiniest frog I’ve ever seen! The trail abruptly ran into a blockade, and the only option in a forward-ish direction was a small offshoot of a path atop pressed down leaves. Since I didn’t particularly want to turn around and do the slippery downhill trek, I tried my luck and eventually this leaf corridor connected with a real pathway (with inlaid steps). After a little while longer, I ran into my first person for a while! As I looped my way back towards the front I ran into more and more folks and the famous rows of torii gates.

The tiniest frog, with a blade of grass and a forming water droplet for scale.

After Fushimi Inari Taisha, I had lunch and then headed to the Raku Museum. As you may already know, I have really enjoyed learning raku processes and wanted to see the works in this institution. I learned that Raku is a family name, and the Raku family gained renown for their style of ceramics such that their name became the name for the set of processes. What a legacy!

The Raku Museum is small, so I finished and still had some time in the day. It had also stopped raining! I decided to head to the famous (and sometimes infamous) Gion district known for geishas, which is right next to a well-known street full of restaurants. I walked around Gion, visited a small contemporary art museum there, and finished the evening with some vegan ramen.

The next day again started off rainy. I took a train to Nara to visit the famous Nara Park, which has thousands of wild sika deer, sacred in the Shinto religion, which have acclimated to living on the grounds and enjoy eating “crackers” that vendors sell to tourists to feed to the deer. I walked around Nara Park for a few hours, and then had lunch and took a train into Osaka. I stopped at a summer festival, Aizen, which was smaller than I imagined but was nevertheless interesting to attend. Then I headed to the Osaka Aquarium, as I heard it was world-class. I really enjoyed a number of the exhibits; I can’t recall having seen a flounder swim before, and I also was delighted and alarmed by the gurnards or sea robins (Triglidae) which have “walking rays” aka legs. They also had a kawaii or “cute” wing, where I very much enjoyed watching the spotted garden eels!

This is the Google Translate image of a sign outside Mirai’s enclosure.

The following morning I checked out of the ryokan, but I had them store my luggage as I wanted to explore more of Kyoto (and I couldn’t check in to my Tokyo hotel until 3pm). I then went to the Kyoto City Zoo for attempt number two at seeing tanuki that I could paint. Unfortunately they also only had one tanuki, and she was Immako’s twin Mirai. She, too, has already outlived the normal tanuki lifespan and has grave medical issues but is soldiering on. I did get to see a Japanese giant salamander, though, which was very cool! The zoo was right next door to Kyoto’s KYOCERA Museum of Art, so I went there afterwards and took in a Takashi Murakami exhibition as well as a local Japanese arts and crafts exhibition. I was really pleased with how much Murakami was using metal leaf in this exhibited artwork and with his written reflections on the material’s connection to Japan, since I intentionally chose to work with it quite a bit during this artist residency. On the way back to the ryokan, I passed a small photography museum so I checked that out as well!

Then I picked up my small suitcase and took a train and then a shinkansen to Toyko! I purposefully reserved a seat on this one so I could sit on the window side with Mt. Fuji, and then kept checking my map so I could look out the window when it was time! Fujisan was pretty cool; it had its own little cloud hat.

Week 4 of the Arts Itoya Residency

In my last week, our shows and artist talks were scheduled to take place on Wednesday, June 26th from 2-6pm. I was completely studio-focused in the days leading up to the reception, and I managed to get six paintings up for display; however, the sixth one wasn’t quite finished yet so I planned to continue to work on it at home. I’m pretty pleased with this amount of production in a four-week residency, though I definitely bolstered it by coming a week in advance to get over my jet lag while purchasing art materials and gathering reference experiences and imagery!

We had already packed up everything in the studio aside from the displayed artwork in order to host the reception on the 26th. I was departing on the morning of the 29th for Kyoto, and needed to ship my luggage to Tokyo before that. It seemed silly to me to revive my studio practice given all those details, so after the show ended, I deinstalled my artwork and took it and all my studio materials back to the house.

Then on the 27th, Emily and I visited Arita! Takeo-onsen, the town which hosts the Arts Itoya residency, is located in Saga prefecture in Kyushu (the southwestern Japanese main island). Saga prefecture has three particularly famous porcelain towns: Arita, Imari, and Karatsu, and I wanted to visit at least one of them! In terms of the porcelain produced, I like both Arita and Karatsu in terms of aesthetics (Imari porcelain is a little too ostentatious for my taste). Arita is much closer to Takeo than Karatsu, so it was the better choice for a day trip in terms of both time and cost. We first stopped at their ceramic museum, and then walked to a famous studio called Kouraku Kiln. After that, we walked to the major porcelain shop center Arita Sera and ate lunch. We then visited a LOT of porcelain stores (we probably visited about 50, but I think there might’ve been 100 there). I’ve never seen such a large, single-subject shopping district before and I am pretty confident it’s impossible to take in all at once; there’s too much to look at and our feet were also voicing complaints. There was so much to see that we barely bought anything due to the mental overload, the very real luggage size/weight limitations, difficulties in transporting fragile ceramics, and the fact that we’d already bought some ceramics from a store in Takeo; we stuck to small items only. I bought a gift and four pieces, and Emily bought two gifts and two pieces.

On the 28th, we visited Nagasaki. My former colleague Masa Watanabe had urged me to do so, and Hiro seconded the recommendation. We made our first stop at their prefectural art museum, and then went to lunch before checking out their very small Chinatown and then wrapping up at a Buddhist temple, Fukusaiji. That evening, Hiro helped me ship my two large pieces of luggage to my Tokyo hotel with Yamato Transport. And with that, my last week at the Arts Itoya residency came to a close!

Arts Itoya Painting 5: Messenger

My fifth painting is of a sika deer (Cervus nippon), painted atop a decorative camellia metal leaf washi paper. I applied the paint atop the gilding in a thin, translucent layer so that the metal leaf is still visible. In areas where the paint colors are similar to that of the metal, it’s difficult to see much difference head-on - but in darker coloration spots, you can discern it. However, if you stand at an angle or due to the light environment when reflections are apparent, the gilded decoration is visible throughout the whole painting. Below are two photos of the same painting, visually demonstrating what I describe above!

I encountered wild sika deer in Yakushima (the subspecies C. nippon yakushimae) and in Nara as well as saw them in zoos in Fukuoka and Yamanashi City. They are famous in Nara, as more than 1,200 roam freely around Nara Park and the grounds of several temples and shrines due to the deer serving as sacred messengers to the gods in the Shinto religion.

This is Messenger, acrylic on gilded washi mulberry paper, 26x18”, 2024.

Shelby Prindaville's acrylic painting of a sika deer on gilded washi paper.

Shelby Prindaville's acrylic painting of a sika deer on gilded washi paper, with the metal leaf visible throughout.

Arts Itoya Painting 4: Shingling

My fourth painting is of a shingling plant I documented in Yakushima, in this case Ficus pumila. Ficus pumila is a native species in Japan (and other East Asian countries). I’m always attracted to epiphytic shingling plants (plants that climb up trees or rocks vertically such that their leaves look like lush shingles atop their substrate). This was a very time-consuming painting in both the drawing and painting stages, but I think it was well worth the effort!

Yakushima Island was not as fertile for rice production as other areas of Japan, so during the Edo period, Yakushima paid for its shoganate taxes by logging sugi trees and producing wooden shingles rather than in the more customary rice. This deforestation had negative environmental impacts. Reforestation and conservation efforts including declaring the island a UNESCO World Heritage site have since tried to rebalance the important island forest ecosystem. This painting’s title references both the plant’s growth habit and common grouping name as well as Yakushima’s ecological history.

This is Shingling, acrylic on round wooden panel, 12x12x.875”, 2024.

Shelby Prindaville's "Shingling" acrylic painting of Ficus pumila on a round wooden panel.

Week 3 of the Arts Itoya Residency

Shelby Prindaville's Arts Itoya solo exhibition "Ikigai" show card!

In my third week at Arts Itoya, I continued to spend a lot of time in the studio! Rainy season had officially commenced, so studio time was even more cozy. I also caught a cold, but it was a fast one - only lasting a few days. I was happy it had waited to strike until after my Yakushima visit, as that meant I didn’t have any issues with my scuba diving or intense hike.

One rainy afternoon, my bike hydroplaned atop some slick ground tiles and I hit the ground, so I had a number of scrapes and bruises from that. I was even more inclined to stick to the studio afterwards! We were also aware that our exhibition was coming up quickly. I designed my own show card as well as the poster for everyone’s shows within the multi-artist exhibition gallery. For my own show, I chose to title it Ikigai (生き甲斐). Ikigai is a Japanese concept/philosophy that has already made its way into English, much like zen, bonsai, and wabi-sabi. Ikigai is your reason for living; it combines passion, mission, and profession.

There were still a couple of new adventures! I had discovered that there is a lake with swan boats relatively nearby, so Emily and I went on a swan paddle boat outing. We also visited the Yoko Museum and Japanese Garden in Takeo. We observed that all the ceramics were wired down, and my theory is that this is an earthquake-damage-prevention measure.

Arts Itoya Painting 3: Lifelong Renter

My third painting is of a little hermit crab I met in Yakushima who was determined to be on his way. While I was working on the painting, a local Japanese man who stopped in at the studio shared with me that the name for hermit crabs in Japanese is ヤドカリ(yadokari), which means “borrowing lodging” or tenant. This painting is meticulously detailed and somewhat pointillistic.

The title is tentative, but for now: this is Lifelong Renter, acrylic on wood panel, 14x14 x.875”, 2024.

Shelby Prindaville's acrylic painting of a hermit crab, Lifelong Renter.

Arts Itoya Painting 2: Pursuit (Ichi-go ichi-e)

My second painting is atop an aluminum leaf paper. This paper was hard to work with, as the paint doesn’t grip to it as well as I’d like (and my new Holbein metal primer did not help), and the tape I used to anchor the paper to a board ended up removing the foil off the corners. However, I persevered! The subject is a male Japanese rhinoceros beetle, called kabutomushi here in Japan: Allomyrina dichotoma. The adults only live for 2-3 months after pupating.

I plan to carefully varnish the beetle before framing this piece, but I’ll do that at home - so for here, it’s done! All of the metal leaf papers are hard to photograph, but I’m pretty happy with the below image.

This is Pursuit (Ichi-go ichi-e), acrylic on aluminum leaf paper, 11.5x17”, 2024. The Japanese romaji in the title, ichi-go ichi-e or 一期一会 in kanji, is a four-character Japanese proverb that means “one time, one meeting” and is about embracing the present.

Shelby Prindaville’s acrylic painting of a kabutomushi or Japanese rhinoceros beetle (Allomyrina dichotoma) on aluminum leaf paper.

Week 2 of the Arts Itoya Residency

Once we got to the studio, I began to paint! I tend to put in pretty long hours, so there was far less exploring going on - but there was a bit. While all the residents get along well, several enjoy independence. Emily and I both get along really well and like the same destinations so we began doing pretty much everything together. We asked a volunteer with the residency, Charlie, if he’d mind showing us a nearby koi store. With the owners’ permission, I used my underwater camera to take photos, much to Emily’s delight! We got some good images and the koi store owners were so very sweet. Japanese hospitality is outrageous. Despite the fact that it was clear we weren’t going to be customers, and they’d already done us a favor by letting us take photos of the fish, they also sat us down, showed us some documentary clips of their store and fish at different times, plied us with tea, coffee, and cookies, and offered their home’s art up for viewing as well as their bathroom to us. I need to up my hospitality game!

I learned that their average koi’s lifespan is 100 years, but that the oldest koi fish in Japan lived for 200 years! They also shared that this is the slowest time of year for their shop, and that the most spectacular fish come through in October and November. However, they are going to be getting new stock in next week so we plan to return!

We also began to explore a bit more of the culinary scene in Takeo, but it’s rough being a vegetarian here. Our favorite places include Irie, a Jamaican/Italian bar with a delightful owner and employee pair, as well as Sol de Verano (a Spanish tapas bar with delicious Basque cheesecake) and a tofu hot pot and gelato place. We also tend to eat at least one meal per day from a konbini (Family Mart or 7-11).

Hiro took four of us who wanted to go on an excursion to a hydrangea temple and shrine which is up a mountain in Takeo, and that was really beautiful, though my ears refused to pop for some time so I was happy when I could finally hear again!

Intersperse that with a lot of studio time, and a few late night onsen visits, and you have a full picture of my second week!

Arts Itoya Painting 1: Duality

The first painting I completed at Arts Itoya is of two backlit hibiscus flowers from Yakushima. The substrate is a gold and silver leaf flecked Torinoko paper; I added the translucent green coloration. I was inspired by the dark fantasy iconography of flowers in anime, particularly in Hell’s Paradise as well in Demon Slayer and Suzume.

This is Duality, acrylic on gold and silver leaf flecked Torinoko paper, 14.37x11.6”, 2024.

Shelby Prindaville's acrylic painting, “Duality,” of two hibiscus flowers on decorative washi paper.

Starting the Arts Itoya Residency in Takeo: Week 1

After flying into Fukuoka, I took an express train into Takeo. It’s about an hour and a half away, and I got there in the late afternoon. Hiro picked me up, and when I got to the residency three of the four other artists had already arrived! They include Stewart from New Mexico, Anna from Massachusetts, and Won from South Korea. Hiro showed me my room, where he had already stowed my two large pieces of luggage I had shipped with the takkyubin. He then gathered everyone together to show us the studio space, which is approximately a half mile away from the house. While that’s definitely walkable, Arts Itoya has very kindly provided each of the residents with an electric bike! This is actually my first time riding one, and I love it. Often if the ride is pretty flat I’ll just leave it off, but when there’s a fair amount of uphill I turn it on and the motor does most of the work! The problem was that one of the bikes was in the shop and Hiro wanted to pick it up, so he jogged to the studio while we rode behind him, and then we all walked to the bike shop together to pick up the other bike. We then explored the studio, made some requests (I needed way more tabletop than was currently on offer), and we rode back! Stewart is also vegetarian, so we then tried to find a place to have dinner and located a pizza shop not too far away so we headed there. It turns out it’s run by an Italian who moved to Takeo with his Japanese wife; they are both very nice. After that, we headed home and went to bed.

The next day, I began unpacking, did some laundry since I’d already been in Japan for a week, and sifted through my photos to see what I’d start to work on in the studio. The last resident also arrived: Emily from California. We’re a surprisingly US-heavy house - apparently a weird coincidence as most of the stays are more internationally diverse. The next few days, I mostly stuck to the house as I began to sketch out a number of pieces from my room’s desk, but I joined Emily on an excursion to a small botanical garden in Takeo and then visited a shrine with a 3,000 year-old camphor tree.

I invited Emily to go to Fukuoka with me that Thursday. I wanted to go to Fukuoka pretty early on during the residency for a few reasons: 1) the weather was only going to get rainier and hotter; 2) I wanted to go to Fukuoka Zoo to see tanuki and hopefully get some good images to paint from; 3) Rina, the woman I befriended in the Yakushima airport, was staying in Fukuoka for just a week before heading back to her home in Tokyo and she wanted to meet up again.

We headed out at 6:45am, as that would get us to the zoo right around their opening time of 9am and I suspected that our chances of seeing active tanuki were highest right in the morning since they’re nocturnal. On our walk to the zoo, we happened to see a dead Japanese centipede in the road. Mukade are a pretty iconic Japanese insect so it was interesting to see one; they’re quite large and have a nasty bite. When we got to the zoo ticket office, the worker looked really surprised that the only exhibit we asked about was the tanuki. We nevertheless beelined it to that spot, and after some confusion, we realized it was a very poorly positioned cage behind another caged hallway. There was a lone tanuki inhabiting it, but she wasn’t out - she was curled up in a bed in a hut and we could just make out a little fur. There were a lot of signs, though; upon translating them, we learned that this tanuki was named Immako and she was an ancient little tanuki who had already outlived their average lifespan. Wild tanuki typically live 6-8 years in the wild and 11-13 years in captivity. Immako is 13.75 years old. There was another sign discussing her kidney problems and sharing that sometimes she’s not in her cage at all as she’s receiving kidney treatment.

None of this boded well, but Emily and I decided to circle back and took in some of the other animal exhibits in the meantime. Around 10:30am, our explorations took us right near her cage again so Emily suggested checking back in. I thought it was probably too soon but why not… but when we came back, the zookeepers were getting their breakfasts ready and Immako was up and waiting patiently for it! Unfortunately, while Immako is a very sweet being, she no longer really visually captures “tanuki.” I hope she breaks all the tanuki lifespan records, but for my painting purposes, she wasn’t representative enough of the species as a whole.

After we finished with the zoo, we checked out the botanical garden that is right beside the zoo as your admittance is included to both when you enter either. The zoo had a number of species but on the grand scheme of zoos was a smaller one; the botanical garden on the other hand surpassed our expectations and had some amazing outdoor gardens and greenhouses. Emily currently almost exclusively paints koi fish, and we found our first koi fish in Japan in one of the fountains at the botanical garden. We also saw a wild snake! They had some beautiful roses in the rose garden, and I particularly liked the ones that were grown into tree forms. In the greenhouses, not only did they have some truly stunning specimens (their Welwitschia mirabilis were spectacular and their barrel cacti were also very impressive) but they also had an orchid sale! That was a little torturous, honestly, as I wanted to buy a number of their plants but I’ve looked into it before and transporting plants internationally is a giant headache involving getting a CITES certificate and dealing with customs and it just isn’t practical at this time for me.

Post-garden, we met up with Rina at a vegan cafe and had a really nice late lunch. Then Emily and I walked through downtown Fukuoka to a soufflé pancake restaurant so we could try the famed Japanese soufflé pancakes! After that, we returned to Takeo. That evening, we decided to visit the onsen in Takeo for the first time! We splurged a little for the outdoor onsen at 740¥ (the indoor one is 500¥), and also had to rent towels for another 300¥ since we didn’t bring any along. We discovered the outdoor onsen actually has three different pools and a sauna inside; there’s the outdoor hot bath at 41°C, the indoor hot bath at 42.5°C, and a cold pool called a mizuburo (that doesn’t have a listed temperature but a worker said is maybe around 14°C) which is icy cold. Our tolerance of the outdoor hot bath is probably only around 8 minutes, but then a plunge into the cold bath for a couple minutes and dipping a hand towel into its water to perch on your neck or head in the hot bath means you can cycle through for much longer!

The next day I drew again, and then on Saturday I was finally ready to haul all my art materials to the studio to begin to paint!

Yakushima!

On day four, I flew to Yakushima! At this point, I have two large suitcases, one roller carry-on, and a backpack. Trying to haul all of that to a remote island on a tiny plane sounded like a bad, expensive idea to me. Fortunately, Japan has already solved this problem and I sincerely wish all countries have this: takkyubin! These are luggage transport services that will ship your luggage to your next destination, and you can ask for them to hold the delivery for a few days as well. This meant that when I shipped my two large suitcases on the 28th, I asked that they be delivered on June 1st in Takeo (where the artist residency is located). I just took my roller carry-on and backpack along to Yakushima!

My flights from Tokyo to Kagoshima and Kagoshima to Yakushima were each delayed, as an incoming typhoon was disrupting weather patterns and causing a lot of rain and wind. The YES Yakushima tour service was also messaging me about maybe canceling / swapping my tours around, which was worrying, as they had been inundated the day before and had to shuffle those folks’ tours plus they were worried I and other travelers would be delayed overnight. Fortunately, I arrived that evening, and by that night the tour company had decided we’d stick to the original plan (which was my preference too!). In the bathhouse late that evening, I encountered the largest hunstmen spiders I’ve ever seen! They were larger than my hands. My one Yaksuhima regret is that I didn’t manage to get photos of them - by the time I left it was closed for the night, and every other time I brought my underwater camera, it was earlier and they weren’t out… but I was either out on an excursion or too tired to go the other late evenings.

The next day started at 7:30am with a prepared vegetarian breakfast at the guesthouse (asked for in advance when I arrived), and then at 8:30am we set out on an island tour! We stopped at a tea farm, several waterfalls, drove a road known for Yakushima deer and monkey (but saw few monkeys, due to the hot weather that day), and stopped at a natural hot spring outdoor onsen. The tour concluded around 4:30pm, and at 7:30pm I had signed up for a turtle egg-laying evening tour. In between, I took a nap and ate. The turtle tour involved waiting until after nightfall when a sea turtle was already in the process of laying eggs and then carefully going in a group to watch her with the aid of red-light flashlights. My turtle was a loggerhead, which is the more common species. They rarely get green sea turtles on shore laying eggs, but it does occasionally happen. No cameras were allowed on the beach, and it was so dark I’m not sure they’d have done much anyhow. It was a cool excursion, though, as much in observing the logistics of the event coordination as in observing the turtle herself! We got back around 11pm, and the following day I had an early morning ahead so I crashed.

I woke up at 6:30am in preparation for a departure to the Yakushima Diving Center at 7:30am. We went over safety procedures and picked our beach entry spot, and then did a reef dive for about an hour. I’ve done scuba diving several times before in 2019, and I loved it then and continue to love it now. We saw an octopus, a moray eel, three green sea turtles, a beautiful nudibranch, starfish, fish, anemones, and a giant clam. I got some decent photos of one of the sea turtles and some nudibranch and fish, but it’s a fight to get my camera to focus and animals that are moving a lot (the octopus and eel in particular) are next to impossible to capture, at least at my current skill level. I got back to the guesthouse around noon, so I walked to a nearby restaurant for lunch, had some more rocky beach time myself, and then walked up to the main road and visited a few souvenir shops before going home and enjoying the bathhouse and having an early night.

My last full day in Yakushima was a seven-hour forest hike! We departed at 7:30am for the Yakusugi Land & Yamato Sugi hike, which was rated as a 3/5 of difficulty but which I’d probably rate as more of a 4/5 due to constant elevation changes and lack of a trail for most of the hike. It also started raining about a third of the way into the hike, and none of the guest hikers felt like using an umbrella was possible because of the trees/branches all around us so we all just got soaked. It did feel very apropos for Yakushima. A decent part of this hike was in territory which has small leeches. Our guide tried to get us to see them as cute, but I was adamant that I did not want one. While I kept getting dirt on me that looked suspicious, I and one other hiker made it through without a leech! Our guide and two other hikers got one each. I did get bitten by something that I was allergic to though, so I rocked a large bite wound thereafter. The other most rigorous hike I’ve done was an 8-hour hike up and down two mountains in the Peruvian Amazon - this one was more intense, but at 37 I am actually fitter than I was at 27 so I performed better on this one! In fact, I was the fastest woman on the hike; we had our male guide and a male guest hiker who were faster, then me, and then a mother and daughter along. We got back to the guesthouse at 4:30pm and I hopped into the bathhouse right when it opened at 5pm, tried to hang up all my wet belongings, had an early dinner, and was asleep by 8:30pm or so.

The next day I ate another prepared guesthouse breakfast, packed up, and then took a taxi to the airport at 10am. My flight wasn’t until noon, but I wanted to check out the shops and an art gallery near the airport (the airport is so tiny it’s within walking distance to several stores). I popped my luggage in a coin locker and wandered around for about an hour. Then I headed back to the airport and made my way through security. At the gate, a Japanese reiki therapist named Rina befriended me and we chatted until we boarded the plane to Fukuoka!

My First Days in Japan

I departed my house at 5am on May 23rd, and by about 6:30pm on May 24th (including the time change) I arrived at my hotel in Tokyo. My flights went well, though somehow my vegetarian meal requests did not make it through to All Nippon Airways; this meant for the first meal I was given a banana, but then the flight attendants managed to scrounge me leftover vegetarian meals from first class (after normal meal services concluded) and in the process of all the negotiations around food, they enjoyed my very beginner Japanese so much that they gifted me with ANA swag at the end of the flight! I now have a small ANA sketchbook with surprisingly decent paper, postcards, and I think a balloon..? I haven’t opened it yet to know for sure.

Once I got to my hotel and even though I’d been up for over 24 hours at that point, I summoned the energy to go to the nearby 7-11 to see if I could withdraw money with my debit card, as I wasn’t able to when I was in Athens and I needed to be able to here due to the many cash-only establishments. Fortunately, it worked! I then bought some konbini (Japanese convenience store) snacks including onigiri, radish salad, and a yogurt drink. Then I crashed.

Over the next several days, the jet lag only allowed me to sleep for about 4-6 hours a night, which put a bit of a damper on my overall energy levels and did require that I give myself some grace. Due to the number of time zones between the US and Japan, it can take up to a week to recover from jet lag.

Shelby Prindaville with a live Japanese rhinoceros beetle (Trypoxylus dichotomus) in Mushisha.

On my first full day in Tokyo, I went to a beetle pet shop called Mushisha. There are some beautiful native beetles in Japan that children capture and keep as pets, and that interest has cultivated a variety of beetle-related pastimes including raising beetle species from around the world from grubs as pets and holding beetle battles. I knew I wanted to be able to photograph the beetles, so I had prepared a short speech ahead of time in Japanese explaining my wishes, and then wandered around taking bad photos through the cages. Then I gifted the staff with my business card and my greeting cards of mosquitoes, and explained that my paintings are very detailed and I wanted to photograph the beetles out of their cages. They very, very kindly acquiesced and I negotiated first one beetle, then a total of four. I also asked for the species info, and after I finished with the fourth they gave me the list and somehow none of the beetles I photographed were native to Japan! So then I got to photograph a bonus fifth beetle, as I really wanted to paint a native species as well. Once I finished, I got their email address so I can send them images of the paintings I will do of their beetles.

Then I walked to a very small vegan restaurant with a unique quirk - it only caters to single diners, and requests that there be no talking aside from ordering and payment. Some reviews found this to be a hostile choice, but as someone who dines alone frequently I wanted to experience this atmosphere! I found it very meditative, and would happily eat there again.

After that, I started my quest for decorative washi paper that I could use as a painting substrate. I stopped at Bingoya, which was kind of on the way back, and bought a really lovely sheet there. Then I went to Pigment Tokyo. This was the shop I was the most hyped for, as it sells metal-leaf papers and titanium panels, the likes of which I’d not yet seen for sale anywhere else. I bought several hundred dollars’ worth of supplies there! However, I later discovered they sold me a packaged-up, flawed titanium panel and then refused to refund it or fix it when I returned to Tokyo after my artist residency. They apparently only have a maximum of one week for returns, which implies real quality issues. I don’t recommend them. I later found similar products with much better customer service at Ozu Washi.

Shelby Prindaville at the Tsugu Tsugu kintsugi workshop.

On day two, I went to an antiques fair and flea market; then I had planned another activity but I just returned to the hotel and took a nap before joining a real kintsugi workshop in the afternoon. Real kintsugi uses urushi lacquer, and is actually food safe. Most modern kintsugi uses epoxy. Real kintsugi takes two to three months, as you apply multiple layers of lacquer and each has to cure, so we were just doing the finishing layer. It was educational, but this workshop was quite expensive so I wouldn’t recommend it to folks who just want a cultural experience.

On day three, I continued my quest for washi paper and I went to four more shops that sell it and bought another several hundred dollars’ worth of paper. I don’t expect to use it all immediately - some will definitely be for future use. I also came to the realization that I had already acquired so many new art materials that I was not going to be able to fit them into my existing luggage, so I bought a new piece of luggage at this point. This was always in the cards, and is what I did in Athens as well. Fortunately, Reddit has some really helpful Japan-focused subreddits, so I learned of a shop that sells them at wholesale prices and got a really good deal on one! Most of the stores were selling large suitcases for 24,000 - 88,000¥ (about $153 - $560), but I got mine for under 8,000¥ ($50).

At the final shop of the day called Ozu Washi, I bought a ton of paper and also attended a washi paper-making workshop! This was way cheaper than the kintsugi workshop and also way more involved - I think anyone visiting Tokyo who might be vaguely interested should do one of these washi workshops as it was definitely a lot of bang for your buck. I will go back and do another one in July, as there are different processes and I’d like to see how some of the others work. The kind I did, pictured below, is called rakusui-shi / sukashi washi / lace washi.

Below are a few more photos from my first few days in Tokyo! The first is of the inside of Mushisha, the second is of the single diners only restaurant with window signage, and the last two are of parts of the inside of Pigment Tokyo - but again, I would encourage you to support other art supply stores instead, due to their poor quality control and extremely short return policy. I recommend Ozu Washi instead.

Upcoming: Arts Itoya Residency in Takeo, Japan!

I’m excited to share that I will be attending the Arts Itoya residency in Takeo, Japan this summer for a four-week stay! Morningside University has been very supportive, and has given me both a Morningside Experience Grant and Ver Steeg Faculty Scholarship funding to help me accomplish this exciting project.

I try to learn at least some of the local language for all of my residencies, with varying levels of success. I’m proficient in Spanish, which helped a lot with my learning some French and Portuguese for residencies; with my recent Greek residency I learned enough to say a few greetings and somewhat be able to read the Greek alphabet, which helped in finding destinations via signage. For this Japanese residency, I knew I was going with enough advanced notice to actually enroll in a Japanese I class at Morningside this fall, and have been continuing to study Japanese this spring via Duolingo and a couple other apps as well as watching a lot of anime.

Japanese is a tough language to learn! The US State Department has categorized languages in terms of difficulty for native English-language learners. Spanish is a category I language, requiring an average of 750 class hours to achieve general proficiency. Greek is a category III language, requiring an average of 1100 class hours. Japanese is in the highest category, IV, at 2200 class hours. The other category IV languages are Arabic, Cantonese, Mandarin, and Korean.

At this point, I’ve studied Japanese more than any other language besides Spanish, and I am nevertheless not conversant yet in it. I can pretty much only accomplish basic one-way communication - me asking where the restrooms are, or saying that I am vegetarian - and very limited reading (I can read hiragana and katakana, but only know maybe 100 kanji). I can type it, but handwriting without looking at reference syllabaries is also not really within my capacity.

All that being said, this investment in learning as much of the language as I can ahead of time has already led to my giving a short speech fully in Japanese to our visiting Yamanashi City sister city delegation this fall, and has deeply enriched my knowledge of the culture and ecology of Japan. Several of my students have also gotten a kick out of being a classmate of mine! 私はこのなつ日本に行きます。たのしみです。

My Temporal Artwork: Fugitive Veterinary Stains

I recently posted about my temporal chromatograms, and now I’d like to post about my temporal veterinary artwork!

I love using new media, so when I got the chance to be the first-ever artist in residence at a veterinary school in the United States (at the LSU School of Veterinary Medicine in 2022), I set myself the challenge of using veterinary chemicals, medicines, materials, and tools in each of my pieces created there. As far as I know, no one else has attempted to use either stains from clinical pathology and histology or veterinary chemicals and medicine as paint before. This meant I had no idea how archival any of the artwork would be.

I soon found out that a lot of the veterinary stain and chemical pigmentation rapidly goes fugitive, which is a term we use in art when pigmentation bleaches out over time and/or with exposure to sunlight.

While a number of my paintings from my LSU Vet Med residency have therefore undergone a transformation, the most drastic one is that of Wild Card. Its background actively changed as I was painting it; the initial coloration was intensely cyan and purple. The cyan started disappearing within days, but the purple was more stable. However, the purple began to fade away in a matter of weeks. Here is a comparison of Wild Card on the day I finished the painting, and then another photo approximately a year-and-a-half later.

Again, I still find the latter result compelling. Fortunately, so did the viewers! The purplish background splotches went fugitive sufficiently quickly such that the version of the painting I exhibited in my solo show at LSU Vet Med had already mostly resolved to that of the above right image, and I sold the piece to a very nice emergency veterinarian who said he thought Wild Card had “aged like fine wine.” The novelty of how it will continue to age also interests us both!

Phoenix Athens Residency Artwork 10

A photo of a section of a cave wall near where I harvested my pigment - this spot had just a couple of red ochre ribbons, but deeper into the cave there was a bigger deposit.

I started making the substrate for this piece in Athens, but I continued it after my return home and painted it here! The background is special - the substrate is made of white concrete mixed with natural cave pigment I harvested at in an abandoned silver mine tunnel on my friend’s monastery grounds and then processed into powder. I believe it is red ochre, which is one of the original archaic pigments used in ancient cave paintings. I also applied the red ochre to the surface for extra pigmentation.

The subject matter is a wild adult male red fox (Vulpes vulpes) which I got to observe on Mount Lycabettus due to the kindness of my field biologist friend Dimitris! He discovered that this fox shifts dens around 8am when the sun begins to infiltrate his early morning den; the one he moves into a narrow cave tunnel with two openings in a cliff face. Watching him navigate an almost sheer rock wall to get to that second den was witnessing a truly skilled athlete in action.

I like that the substrate and the subject both have caves in common, and though I glazed the whole of the fox irises with gold, a portion of them beneath the glaze are just the raw red ochre. I managed to finish this piece in time to install it in my Materiality show in Eppley Art Gallery, so it’s on display there through October 7th if you’d like to see it in person!

This is Ancient Origins, acrylic, artist-harvested red ochre natural cave pigment, and concrete on recycled wood round, 17.5x17.5x.75”, 2023.

Shelby Prindaville's acrylic painting of a red fox atop artist-harvested natural red ochre cave pigment and concrete on a recycled wood round.

My Phoenix Athens Solo Show: Athenian Habitat

The below gallery of images is from my Phoenix Athens Gallery solo show!

Athenian Habitat by Shelby Prindaville
Exhibition dates: 15 – 22 July 2023 at Phoenix Athens Gallery, Asklipiou 89, Athens, Greece
Reception: Thursday 20 July 2023 19:00-22:00

I am really happy with this body of work; everything installed on the walls was created in five weeks, and I even managed to complete the piece displayed on a small easel in the front window before the reception.