Ryoko Suzuki, Anikora-Seifuku 06, 2007, Chromogenic color print, 180 × 120 cm.

Left, Ryoko Suzuki, Anikora-Seifuku 08, 2007, Chromogenic color print, 120 × 230 cm.; Right, Ryoko Suzuki, Anikora-Seifuku 01, 2007, Chromogenic color print, 120 × 230 cm.

Left, Ryoko Suzuki, Anikora-Seifuku 05, 2007, Chromogenic color print, 120 × 230 cm.; Right, Ryoko Suzuki, Anikora-Seifuku 04 2007, Chromogenic color print, 120 × 230 cm.

Corkin Gallery
55 Mill Street,
Building 61
416-979-1980
Toronto
Ryoko Suzuki: Anikora – Seifuku
May 3-July 13, 2008

Ryoko Suzuki’s work uses highly constructed images to comment on the designated social roles of women living in contemporary Japan.

Her works depict popular Japanese dolls, akin to Barbie dolls in North America, with the artist’s face superimposed to create a life-like, uncanny image. The dolls depict the traditionally “appropriate” gender roles assigned to women, including nurse, schoolgirl and waitress.

Reminiscent of animé, the distorted, unrealistic bodies of the dolls express the notion of the supercute, or ‘kawaii’, an idea that confronts the cute but often highly erotic portrayal of women in Japanese comics, advertising and toys.

Using digital means, Suzuki creates not only a fictional self-portrait but presents a humorous reaction to the prevalent gender roles assigned to women in Japan.

Ryoko Suzuki has exhibited extensively in Japan, China, Korea and Germany. This is her first solo exhibition in Canada.

Artists statement: The serial work entitled Anikora uses anime-girl-type “Figures.” The figures in the first series are naked or nearly naked, but in the second series wear several kinds of uniforms (including a French maid costume) that are commonly seen in Japanese animations.

I wonder why these figures in such uniforms which are special clothes made for teenage girls, in other words, molds imposed by adults for a limited time look more seductive than the figures in a state of nudity.

The animations, which create a virtual world and stimulate people’s imagination, gain popularity so much in Japan. I cannot deem this Japanese situation to be a cultural decline, but I think I need to watch the direction that people’s desire is taking.

Ryoko Suzuki, Anikora-Seifuku 3, 2007, Chromogenic color print.

Ryoko Suzuki, Anikora-Seifuku 02, 2007, Chromogenic color print, 180 × 120 cm.