Next exhibition




msb gallery is pleased to present “Sleeping, Holding,” a solo exhibition by Ryota Shiibashi.


This exhibition will feature new works from Shiibashi's mountain-themed body of work, which he has been creating since 2016.


He climbs mountains himself, experiences their bursting vitality, and brings home a part of that experience in the form of a photograph. Memories of the mountains, cut out as if by drawing a line, are reconstructed using collage techniques and breathed new life into.


We hope you will enjoy immersing yourself in the works, which fill the entire small space, and encountering fragments of his memories.







Ryota Shiibashi


A photographer & sculptor with a degree in Fine Arts from Bunsei University of Arts. Born in 1979 and raised in a farmstead on the outskirts of the city, he continues to live and work in Yokohama. An invitation to scale Mount Karamatsu in the Northern Alps of Japan during his late twenties – in the company of his uncle – led to a passion for further climbing and an enduring fascination with the alpine scenery. This continues to inform his work, which has transitioned into hand-crafted delicate collage techniques since 2016. To date, his ventures further afield have included artist residencies in both Gwangju and Beijing.






2022  “Independent Tokyo 2022”  Tagboat Special Prize



Solo exhibitions

2023  “Studio Visit”  DART × Singo Francis Studios, Kamakura, Japan

2021  “Landscape of qi”  AnyOne × TEA HERE, Beijing, China

2019  “you are here, so I am here”  Semi-Underground Space, Beijing, China

2018  “here, there, somwhere of those”   ATELIERK ART SPACE, Yokohama, Japan



Group exhibitions

2023  “Food, Art, People and Town 2023 Autumn” Yokohama Portside District, Yokohama, Japan 

             “Independent Tokyo 2022 Selection”  Tagboat Gallery, Tokyo, Japan 

2022  Independent Tokyo 2022”  Tokyo Port City Takeshiba, Tokyo, Japan

2021  China-Japan Culture and Art Exchanfe Exhibition , Suzhou, China

             “SICF22”  Spiral hall, Tokyo, Japan 

2020  “Wall Street Museum” The Chain Museum x NEWoMan, Yokohama, Japan 

2019  “Objects & Images” Art WeMe Contemporary Gallery, Kuala Lumpur, Malaysia 

2018  “On Paper Supreme” Qindao Tiantai Art Center, Qindao, China, etc. 

2017  “Some, Point” Space Ppong, Gwangju, Korea 

2016-21  23 ATELIER・K ART SPACE, Yokohama, Japan 



Art Fair

2024  “ART COUNCIL in AUTOMOBILE COUNCIL 2024”, Chiba, Japan 

2022  “Art Fair Asia Fukuoka”, Fukuoka, Japan 

          “Art Nagoya 2022”, Nagoya, Japan  

2021  “Beijing Contemporary Art Expo 2021”, Beijing, China 

2020  “Art Gwangju 2020”, Gwangju, Korea

2018  “Intangibility, Digital, Fine art & Fair” Space Ppong, Gwangju, Korea 




Artist Residencies

2019  Semi-Underground Space, Beijing, China 

2017-18  Gwangju Museum of Art, Gwangju, Korea 

2017  Space Ppong, Gwangju, Korea 

2015-18  Koganecho area management center, Yokohama, Japan 











Creating a Work



I like mountains. They are vast and spacious, but also very steep and crumbling. Climbers often aim for the summit, but for me, the summit is not that important. That's because when you stand on the summit, you can't see the mountain. The mountain you see in the distance gradually grows larger, and it feels like you're standing on its belly; at the top, it becomes the ground, and on the way down, you look back many times and walk towards the next mountain. Naturally, mountains are three-dimensional objects and have different expressions in 360 degrees.

I walk along it, looking at it from various angles, trying to understand the mountain. This is what mountain climbing means to me.


When walking in the mountains, you can sometimes see scenes that make you feel like water is flowing underground. Falling rain soaks into the soil and flows down into the valley. Moss, which loves moisture, grows luxuriantly along the flow of water on the surface.

Countless water veins run beneath the ground like human blood vessels, and the water, the source of life, creates water jars beneath the climber's feet.

The mountain is the belly. Inside the belly, wrapped in a bag of warm water, a tiny life sleeps, waiting to be born. This tiny life is born in the vastness of nature and enjoys life to the fullest, just like a newborn baby. In this place where various types of life are born and nurtured, I feel that vitality and sense it with my whole body. I bring home a part of that experience in the form of a photograph.


When I cut a photo, I remember the time I climbed the mountain, thinking about the weather and the route. With each stroke of the cutter, I feel as if I am walking through the mountains, deciding which way to go next. Perhaps I think, if I climb this ridge a little further, I will reach the summit, or if I push through the brush now, I will see boulders scattered all over, and then I have to climb a steep rocky area. Step by step, the work of moving the blade strictly follows the natural form, making judgments but not interfering with nature. When I cut out a mountain, the lines that emerge are like a pencil drawing for an artist, and they are the traces of my own walk through the mountain.


I go to the mountains to feel the bursting power of life, take photographs there, bring them back, cut them out as if drawing lines, and breathe life into them to create an object. I think that the whole series of activities forms part of my work.  





Ryota Shiibashi







Currently being held




msb gallery is pleased to present an exhibition of wood carvings, “Fumiya Watanabe Exhibition”.


He creates pictures of the emotions that arise in his daily life through his interactions with nature and animals, and he carves these images using his hands. All of his works are created with heartfelt care, as if he were giving or writing a letter to a loved one.


The chisel marks left on the wood surface convey the warmth of the artist's hands and breathe life into the wood. His works are delicately colored and have a quiet appearance. They are accompanied by a scene that seems like events in a dream. There is an indescribable warmth and humor that touch the hearts of the viewers.

We hope you enjoy this opportunity.



*On the first day of the exhibition when Fumiya Watanabe will be scheduled to be in the gallery, we have decided to receive clients by appointment only.

 If you plan to visit his exhibition on the first day, please make a reservation previously from the following time schedule;

①12:00-13:00  Full booked

②13:00-14:00  Full booked

③14:00-15:00  Full booked

④15:00-16:00  Full booked

⑤16:00-17:00  Full booked

⑥17:00-18:00  Full booked

18:00-19:00  Full booked






Fumiya Watanabe


Born in Tokyo in 1985. 

Spent his adolescence in Kanagawa and Iwate, Japan.


After graduating from Kyoto College of Traditional Arts and Crafts majoring in wood carving,  in order to further study carving, he became an apprentice to Mr. Akatsuki Iguchi, a traditional craftsman of Inami carving, in Nanto City, Toyama.

Currently working as an independent wood carver based in Gifu.





Solo exhibitions

2024   Hase, Nagoya, Japan

2023   “Inner Whispers, Embracing Tranquility”Cut&paste select shop, Taiwan

            gallery agariyashiki, Tokyo, Japan

2022   “Wherever the heart goes, where the body goes” Wood curving exhibition, san galerie, Taipei, Taiwan

2020    “Inner Whispers, Embracing Tranquility” Vima House, Taichung, Taiwan   




Past exhibitions




msb gallery is pleased to present “Line Lands”, a solo exhibition by Naoko Nishitani.


Dots connect to form lines, and lines expand rich imagination.

Naoko Nishitani, who treasures the experiences and sensations of her childhood, expresses her unique worldview in which various plants and living things are juxtaposed.


In this exhibition, using the concept of "lemma" as a key, she attempts to develop mysterious works in which a fragment of memory painted on a triangular canvas can be connected from anywhere to anywhere. Is it a dream, or a world inside a mirror? 


We hope you will enjoy these ever-changing works that allow you to slip into a fairy tale.









Artist statement


When you make dots out of things you sense, and connect those dots, a "line" appears.

The things we see and touch have outlines, but no lines. But as soon as you replace the outlines with lines, the shapes take on meaning and can become a common language.

The images that lines create are not as clear as written words, photographs, or images, but they hold infinite possibilities with imagination and how they are perceived...

Isn't that the charm of lines, not found in words, photographs, or images?


My father was a radio operator on an ocean-going cargo ship, so he was rarely at home except for a few weeks of vacation a year until I entered junior high school. At the time, there were few means of communication, and the occasional airmail was my precious contact with him. As I let my imagination expand and expand from the short letters my father, who was not a prolific writer, wrote to my mother, the image of my father traveling on a huge ship far across the ocean was born in my head as a bottle ship... It stimulated my imagination, but the image of a bottle ship was born of the touch of glass through which it was felt.

One time, I went to Innoshima to visit my father at the dock (a port where the ship calls for inspection), and the color of the ocean I saw there and the feel of the waves were my first experience of the "sea." My encounter with a sea anemone while exploring a cave on a small island in the Seto Inland Sea became the entrance to "another world," and I feel like it was a formative experience in which the dots connected to form a line.


Can we really achieve a high level of reality with AI technology that is independent of human hands and that allows us to imagine anything?What is the true nature of reality? Where is art heading? I was asking myself these questions when I happened to watch a lecture by Shinichi Nakazawa. I became fascinated by the intellectual processes that the ancient Greeks conceived: "logos" and "lemma."

The function of the brain, which logically understands things in terms of causality and time, is very close to the function of "logos", while "lemma" is the function of the mind to grasp the whole of what is in front of us. Lemma is the idea that everything, including things that are not apparent, is connected... 

I don't have enough vocabulary or knowledge to explain it well here, but ever since I was a child, I have had the sense that all life (insects, animals, people) is equal, that the distant land and the land under my feet are connected by the sea, and that there are countless mysterious living things living on land (under the ground) and in the sea (under the sea). For me, who enjoys finding similarities between humans and other animals and plants as if playing on the shore, far away from any specific religious concepts or ideas, the ancient Greek concept of "lemma" resonated with me. It was as if I had received a very important hint, even if it was just for my own sake. Without being bound by causality, I would like to aim for an exhibition that, however humble, allows people to feel the present, "dreaming of the future with the infinite life in the earth and the water," based on the reality.


Once again, I’d like to express my sincere gratitude for this valuable exhibition opportunity.




Naoko Nishitani













msb gallery is pleased to present “Etching Exhibition”, a solo exhibition by Kotaro Miura.


As if connecting dots to draw constellations, he engraved on a copper plate for a long time to express his thoughts on the universal blue world of the starry sky. 


We hope that you will take this opportunity to enjoy this new works that experiment with more sophisticated techniques and expressions.








Artist statement


The starry sky has long been a source of imagination for people, and has spun many traditions and legends from all over the world in the past as well as the present.

It is a world beyond human reach, and it evokes emotions similar to curiosity and awe.


What is beyond the sky? What must be burning to make the light shine so brightly?

When we look up at the sky, I am sure the emotions of people of ancient times are still there, and I believe it is a distant communication.

Aren't the stars weaving together such universal thoughts? 

Just as dots of light connect to form constellations…


In today's suffocating daily life overflowing with information and things, the sky has been there unchanged for thousands of years, and it is the starting point of my own creativity.

It is a faraway, out-of-reach place, but it is also a blue world full of infinite possibilities and playfulness, and I’d like to express these feelings in my work.




Kotaro Miura








msb gallery is pleased to present “Seeing the ambiguity”, a solo exhibition by Keita Sakai.


Keita Sakai has been creating works with an interest in cognition and its principles, using "human error" as a clue.


At first glance, the visual repetition and symbolism that frequently appear in his works seem to be in the lineage of minimal/op art, but their origins lie in his personal experience with dyslexia (a reading disability) and literacy. This is due to related errors (letters looking like patterns) and unique cognition (discrepancies in recognition when based on language).


Errors hidden within the work lead to errors, and at times the viewer feels anxious as if they are suddenly lost, and at other times, with a lightness and brightness that seems to be playing with words, the viewer is lured into a labyrinth of misperceptions.


His works are devices for understanding things that are "not really visible" through the visual world, and contrary to their pop and design-oriented appearance, they seem to be asking us fundamental questions about the proper meanings of "look/see" and "understand/know".


In this exhibition, we will present his new works from his LINE Series.


We hope you will take this opportunity to enjoy his attempt by actually experiencing it through sight.






Artist Statement



LINE Series is a group of works inspired by symbols such as road signs and markings that overflow in cities. Symbols have the role of conveying information. By extracting characteristic colors and patterns from symbols and simply repeating them, the symbols seem to be released from their original role. Even though the symbols that have lost their functions are no longer symbols, but patterns, we sense signals that shouldn't exist from the mere collection of colors and patterns. A strange feeling hits me as if we were being instructed to do something. Were we the ones being held captive? As I create patterns for signs and markings in my daily work, I am made to think about how vague human cognition is and how there are biases in how individuals perceive the world.


This exhibition will feature new works from the LINE Series. The new pieces have almost no color or pattern. When things that were supposed to be symbols lose their characteristics and return to the state of things themselves, when they are no longer objects of recognition and return to just being there, I wanted to see what was still visible even when there was nothing left to see. Something that becomes invisible as soon as I try to focus on seeing it. What emerges from the work, which is freed from being seen, is the ambiguity of the world of cognition, as if one's own line of sight passes through the work, circles the globe, and then returns from behind.


The cognitive boundaries between “you” and “me” will always be shaken, and the uncertainty will be accentuated by the gaze of the inner other. I hope you enjoy the small errors caused by the new work along with the old work.





Keita Sakai













Keita Sakai 

1997   Born in Tokyo

2021   MA Fine Art in Sculpture at Musashino Art University



Using the perceptual characteristics caused by dyslexia ー reading and writing difficulties ー as a starting point, he creates sculptures with the theme of “gap in recognition” related to literacy. He incorporates trivial everyday actions into his works and conducts his activities while considering the ambiguity of recognition, which means human error.






2023   Watowa Art Award 2023  Winner of the Second Grand Prix and Jury Prize of Kengo Kito

      Kobe Art Marché 2023, Finalist

2022   Watowa Art Award 2022, Finalist

2021   The 15th Gunma Biennale for Young Artists, Finalist

2020   Kuma Foundation Creators’ Scholarship, 4th scholarship student

2019   Contemporary Art Foundation Award, Winner of Grand Prize 



Solo exhibitions

2023   Sequence, AOYAMA NOWLOADING, Tokyo, Japan

2022   PLAY-Patapata Nurinuri, A.R.C, Guangzhou, China 

2021   COLORS, L'amour Art Space, Hangzhou, China

           codecode, KITTE marunouchi 4/Floor, Tokyo, Japan

2020   Underline-Symbols in our everyday lives, Shibuya Hikarie8, CUBCOURT, Tokyo, Japan










msb gallery is pleased to present “Record at the water border”, a solo exhibition by Ayami Nakashima.


Her unique world depicting detailed and precise expression which reminds us a mysterious nature beings using mineral pigments.


Something like letting us into dream and reality, we can have feeling bringing back to each own ancient memories.


In this exhibition, we will present her new works that depict a phenomenon found in her daily life through the interaction between consciousness and unconsciousness.


We hope you will take this opportunity to enjoy her poetic vision.







Artist Statement



I saw a petal of morning glory reached over to the edge of a small bay.

Holding it in a thin cloth, its color appears and penetrated.


While I thought hearing thunder of somedays, I rose my face up and found some random pieces of drifted objects from here to there.


I can see fishermen over there silhouetted in the light of sunset.

A black kite draws circle silently flying through with wind.


I just draw things come out from this unconscious border,

which can never reach  you.


I’m a part of consciousness floating at the water's edge, which cannot find anywhere to go.






Ayami Nakashima









msb gallery is pleased to present “white paper -weißes papier-”, a solo exhibition by kopfkino, Ayano Igarashi.


kopfkino creates imaginary plant specimens by combining a piece of white paper with natural objects. She gives them shape taking the formative beauty of beautiful plants and colors them picking up color each color from natural objects.


In this exhibition, her first solo exhibition, she will present works that use white minerals, fossils, etc., and use minimal coloring, focusing on the "white paper" as a starting point.


We hope that viewers will enjoy coloring the work with their own imaginations, as well as the unique narrative that dwells in "white," which does not seem to belong anywhere and is always dependent on what is next to it.





*The artist is schedule to be in the gallery as below:


1.25 Thu.  12:00-16:00

1.27 Sat.   13:00-16:00

1.31 Wed. 12:00-16:00

2.3   Sat.   12:00-16:00

2.4   Sun.  13:00-17:00







Selected group exhibitions


2023    “What if museum exhibition” usaginonedoko, Kyoto, Japan

            “Jeweler's caravan” Chiroptére store, Osaka, Japan

            “Night Museum” Guignol, Osaka, Japan

            “How to enjoy the rainy day” ranbu, Osaka, Japan

            “SICF” Spiral Hall, Tokyo, Japan

2022  Tombo Pencil×minne FAN ART STUDIO, illustrated in May and June

2017  “touch” SMART SHIP GALLERY, Tokyo, Japan








Artist statement


Nowadays due to time passes blinkly speedy in our modern life, it seems like our imaginations are all about what is necessary in our lives. 

Only one thing what I want the viewers get from my work is to enjoy “fantasy”.


Kopfkino literally translates to "cinema in your head" in German.

In other words, it means "fantasy”.


When we face with the beauty of nature, our imagination become overflow.

While the story that grows in our head blurs the line between reality and fantasy, it will secretly lead us to an unknown world.


By embodying our fantasies, we can grasp them as something that exists right now.

And also, someone else can imagine the sequel.


This exhibition will focus on “White".

"White" with a lot of blank space can be colored more freely and realistically.


I hope you enjoy the imagination born from a “White paper=blank slate".






Ayano Igarashi