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Yuki Inoue is a contemporary artist who incorporates Japanese tradition while bringing in an ironic aspect towards the society.
“Evolution”, as the theme; with HIKESHI SPIRIT, the brand which pursues Japanese sophistication,
combining “Japanese” and “modern society” into the design.
Salamander, considered as a symbolization towards Inoue's work.
What is the message being sent through this work?
It is not only a product, but a valuable art piece.



Hiroki Inoue × fire extinguisher
Yuki Inoue × HiKESHi SPiRiT

Hiroki Inoue is a contemporary artist who creates sculptural and sculptural works with salamander as the main motif. His unique style, which combines new materials with Japanese traditions and traditions, has been highly praised both inside and outside Japan.

One thousand nine hundred seventy two
Born in Hyogo prefecture and lives in Kanagawa Prefecture
Two thousand
Graduated from Tama Art University, Graduate School of Fine Arts, Sculpture

2005 " 4th bouyuk chekmejee International Sculpture Symposium」
(Istanbul, Turkey))
Two thousand seventeen
Received the special award at the 20th Taro Okamoto Contemporary Art Award exhibition.

The core theme of my work is"evolution."
The creatures that I treat as motifs become metamorphosed when a certain period of time arrives in my life, but I feel hope and determination at the moment when I cross that boundary, and I imagine human growth and evolution through them is the source of my creative activities.
I have been using stones since I started making them, but in recent years I have shifted to chemical materials in search of more flexible forms.
This change in materials is not just a change in materials, it is a process of my own"evolution", and it is also an attempt to develop it into something new by superimposing the traditions and traditions that have been handed down in Japan.

“Evolution” is the fundamental theme in my art.
The motifs for my work are living creatures that undergo metamorphosis at a certain time in their lives. I feel a sense of hope and determination at that very instance when these creatures take a leap and cross the borderline of transformation.
Through this, I muse on how humanity grows and evolves. This has been my creative drive.
I previously carved stone in my earlier works, but have moved on to synthetic materials in recent years in my search of a more malleable form.
This was not just a change in materials; rather, it was a part of my own “evolution.”
I also consider this a challenge to push my artistic boundaries, as I fuse modern-day materials with traditions and practices that have been handed down for generations in Japan.