Arts Itoya

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.

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 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!

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。