【予約販売】
VALTENTより、初となるビーニーをリリース。
革の質感を、“編み”で再構築し、プリントでは出せない立体感と密度となっております。
現在予約限定価格として3月30日までご予約を承っております。DMあるいはEmailにてお問い合わせください。
なお、写真内の3点のバッグは新作として後日発表予定です。
予約販売限定で
［ 通常 ¥13,500 → ¥8,500 + 消費税・送料］
この価格での販売は今回のみとなります。
VALTENT releases its first beanie.
The texture of leather is reconstructed through knit, creating a depth and density that cannot be achieved through print.
Pre-orders are now open at a limited price until March 30.
For inquiries, please contact us via DM or email.
The three bags shown in the images will be released at a later date.
Pre-order exclusive price:
Regular ¥13,500 → ¥8,500 + tax & shipping
This price will only be available for this release.
Model : Sara Momota @chara_dayo
Photograph : KOYONAKAMURA @54mmf9@_valtent
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地元・三重県伊勢市にて、20年に一度執り行われる伊勢神宮の式年遷宮に向けた神事「御木曳」に、今回も参加してきました。
御木曳は、社殿の建て替えに使用される御神木を曳く行事であり、20年ごとに2年にわたって執り行われます。
自分は2歳の頃にも参加しており、20年という時間を経て、再びこうしてこの行事に参加できたことを嬉しく思います。
時代や環境が変わっても、身体を通して受け継がれていく土地の記憶や風景に、改めて強く惹かれました。
I took part once again in the “Okihiki” ceremony held in my hometown of Ise, Mie, as part of the preparations for the Shikinen Sengu of Ise Grand Shrine — the ritual reconstruction of the shrine buildings that takes place once every 20 years.
Okihiki is a traditional event in which sacred timber is carried and pulled for the rebuilding of the shrine, and it is conducted over the course of two years every two decades.
I first participated in this ceremony when I was two years old, and I feel grateful to be able to take part again after another span of twenty years.
Even as times and environments continue to change, I was once again drawn to the memories and landscapes of this place that are passed down through the body.
Photo / Video inquiries : [email protected] or DM
#令和の御木曳
#式年遷宮
#伊勢神宮
#第63回式年遷宮
#ise
@horioto.tattoos の新店舗が、5月8日に橋本にOPENいたしました。
今回、僕は暖簾の制作と、OPEN祝いとして彫刻作品を納品させていただきました。
また、新店舗OPENを機に、約一年半後に控えた渡蘭に向け、彫音の弟子として正式に和彫の施術も承ります。
そのため、しばらくの間は和彫のみ料金形態が異なりますので、詳細はDMにてお問い合わせください。
※和彫は師匠のご指導のもと施術いたします。
※通常のタトゥー施術・料金形態はこれまで通りです。
※施術は内容により、旧スタジオ @cat_tattoo.studio と新店舗を行き来しながら行います。
皆さまの身体に僕の作品を施術をさせていただけることを、心より光栄に思います。今後ともどうぞよろしくお願いいたします。
@horioto.tattoos ’s new studio officially opened in Hashimoto on May 8.
For this occasion, I created the noren curtain for the space and also delivered a sculptural piece as a gift for the opening.
With the opening of the new studio, and in preparation for moving to the Netherlands in about a year and a half, I will officially begin offering traditional Japanese tattooing as an apprentice under Horioto.
For this reason, the pricing structure for traditional Japanese tattoo work will differ for the time being. Please contact me via DM for details.
* Traditional Japanese tattooing will be done under my master’s guidance.
* Regular tattoo work and pricing will remain the same as before.
* Depending on the project, sessions will take place between the former studio @cat_tattoo.studio and the new studio.
It is truly an honor to create and tattoo my work onto your bodies.
Thank you always for your continued support.
#tattoo #studio #tatoostudio #刺青 #和彫
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Temporal Index
2026
Variable
Pigskin, body performance
Process: Leather attached to the soles; walking approx. 40 km (12 hours)
This work is an attempt to render visible the temporality inherent in leather as a material through the mediation of the human body.
Leather is a material that undergoes changes over time through external factors such as use, wear, pressure, and humidity; however, these transformations are typically embedded within the process of consumption and remain invisible. In this work, the accumulation of time is compressed into a short duration and assumed as physical burden, thereby reconfiguring the relationship between material and body.
The artist attached leather to the soles of his feet and walked approximately 40 kilometers. In this act, leather ceases to function as a mere material and instead operates as an extension of the body, while the body simultaneously becomes an apparatus that induces transformation in the material. Here, the unidirectional relationship of “user/material” is dismantled and transformed into a reversible relationship in which both mutually affect one another.
Furthermore, this process reveals the tension between the acceleration of time in a consumer society and the irreversibility of material deterioration. The traces produced within the limited duration of a 12-hour walk are not substitutes for long-term aging, but are instead presented as “compressed traces of time.”
What ultimately remains is leather onto which bodily movement has been inscribed; it exists both as a sculpture and as an index of the act itself. By accelerating material transformation through the body, this work makes visible the act of “using time” itself.
#contemporaryart #leater #performance #art
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I was in charge of photography for MPACC,
held at CLUB FLAVA in Machida.
@flava_mcd
"MPACC" at CLUB FLAVA
2026
KOYO NAKAMURA
sony ILCE-7M5
SONY FE 24-70 f2.8 GM OSS
町田のCLUB FLAVAにて開催されたMPACCの撮影を担当させていただきました。
#housemusicdj #sony #saloon #groove #dj
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3月より、彫音さんのスタジオに所属する彫り師として施術を承ります。（最寄駅 : 横浜線橋本駅）
卒業を機に、アーティスト活動やその他の事業と並行しながら、自分にとってタトゥーとどう向き合うべきかを改めて考えてきました。小学生の頃から憧れていた彫り師という道を、今回こうした形で続けていけることを嬉しく思います。
彫音さんとは約4年ほどのお付き合いがあり、昨年には共作として作品を発表させていただきました。この度ご縁をいただき、スタジオ所属の彫り師として活動させていただくことになりました。
本業はアーティストのため、
在籍はゲストワークのような形式なり、常駐ではなく不定期でスタジオにおります。
また、今後開催されるイベント/展示やアパレル展開においても、アドバイザーとして関わらせていただきます。施術だけでなく、より広い形でスタジオの表現に携われることを光栄に思います。
ご予約・お問い合わせはDMより承っております。
スケジュールは随時お知らせいたしますので、記載写真をご確認の上でお気軽にご連絡ください。
From March, I will begin working as a resident tattoo artist at the studio of Horioto.
(Nearest station: Hashimoto Station, Yokohama Line)
Upon graduating, while continuing my artistic practice and other projects, I took time to reconsider how I wanted to engage with tattooing in my life. I am grateful to continue pursuing the path of a tattoo artist — a profession I have admired since childhood — in this new form.
I have known Horioto for about four years, and last year we presented a collaborative work together. Through this ongoing connection, I have been given the opportunity to join the studio as an affiliated tattoo artist.
My position will be similar to a guest work format; I will not be stationed there full-time, but will be working at the studio on selected dates.
In addition, I will also be involved as an advisor for upcoming events, exhibitions, and apparel projects. I am honored to contribute to the studio’s creative direction beyond tattooing itself.
For bookings and inquiries, please contact me via DM.
Schedule updates will be announced regularly, so please check the attached images for availability before reaching out.
KOYONAKAMURA
#tattoo #tattooing #artist #comtemporaryart #刺青
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It’s been a little while, but thank you so much to everyone who visited the graduation exhibition.
For my graduation project,I expanded on the techniques used in my previous solo exhibition and incorporated programming,approaching the work from both sculptural and textile perspectives.
For those who couldn’t make it to the exhibition,a documentation video has been created.
Please take a look.
少し日が経ってしまいましたが、修了展にお越しいただいた皆さま、本当にありがとうございました。
卒業制作では、前回の個展で行った技法をベースに、
新たにプログラミングを組み込み、彫刻とテキスタイル、両方の視点からアプローチしました。
会場にお越しいただけなかった方のために、
記録映像を樹が制作してくれました。ぜひご覧ください。
KOYO NAKAMURA
【Encircling life.】
FRP,Pigskin,sound, kinetic system
Dimensions variable
2025
Materials Provided by: sonor @sonorsonorsonor
Programming by: Ryuku Sugawara @tokatibataastick
Filming/Editing by : ITSUKI TANOMOTO @niotpshuoktio
This work consists of sculptural and installation elements made from damaged leather bearing scars and wrinkles.
The irreversible marks engraved in the leather are regarded as “forms of memory” — the only traces of lived time that remain visible after death.
Grounded in the cultural context of textiles, the work centers on the acts of wrapping, connecting, and stitching.
All sewing is carried out entirely by hand.
These acts are not merely technical processes, but cultural practices that reconnect the body and material, time and memory.
The central sculpture moves subtly in synchronization with recorded breathing sounds.
Through the relationship between the work and the surrounding space, the piece invites viewers to breathe together, encouraging a renewed awareness of standing within the cycle of life.
The pedestal, referencing both a vessel and a coffin, along with the white cloth laid across the floor, suggests that life and death, birth and loss, circulate as continuations of everyday existence.
Rather than presenting death as a rupture, this work proposes it as a process of quietly inhabiting a cycle.
#artwork #sculpture #現代アート #pigskin #comtemporaryart
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I am participating in the Tokyo Zokei University Graduation Exhibition.
The first and second days were filled with warm and meaningful moments.
Tomorrow is the final day, so if you are nearby, I would be happy if you could vistit the exhibition.
東京造形大学卒業制作展 出展作品
【Encircling life.】
FRP,Pigskin,sound, kinetic system
Dimensions variable
2025
Materials Provided by: sonor @sonorsonorsonor
Programming by: Ryuku Sugawara @tokatibataastick
本作は、傷やシワをもつ「キズもの」の革を素材とした立体およびインスタレーション作品である。革に刻まれた不可逆的な傷は、生きていた時間が死後も唯一可視的に残存する「記憶の形」として捉えられる。
テキスタイルの文化的文脈に基づき、「包む」「つなぐ」「縫う」といった行為を制作の中心に据え、縫製はすべて手縫いによって行われている。これらの行為は単なる技法ではなく、身体と素材、時間と記憶を結び直すための文化的実践である。
中央の立体は呼吸音に同期し、わずかに動く構成となっている。作品と空間を通じ、観覧者が共に呼吸を行うことで、自らが生命の循環の中に立っていることを再確認する試みである。
船や棺を参照した台座、床に敷かれた白布は、生と死、誕生と喪失が日常の延長線上で循環していることを示している。本作は死を断絶として捉えるのではなく、循環の中に佇む過程として提示する。
This work consists of sculptural and installation elements made from damaged leather bearing scars and wrinkles.
The irreversible marks engraved in the leather are regarded as “forms of memory” — the only traces of lived time that remain visible after death.
Grounded in the cultural context of textiles, the work centers on the acts of wrapping, connecting, and stitching.
All sewing is carried out entirely by hand.
These acts are not merely technical processes, but cultural practices that reconnect the body and material, time and memory.
The central sculpture moves subtly in synchronization with recorded breathing sounds.
Through the relationship between the work and the surrounding space, the piece invites viewers to breathe together, encouraging a renewed awareness of standing within the cycle of life.
The pedestal, referencing both a vessel and a coffin, along with the white cloth laid across the floor, suggests that life and death, birth and loss, circulate as continuations of everyday existence.
Rather than presenting death as a rupture, this work proposes it as a process of quietly inhabiting a cycle.
【概要】
2025年度東京造形大学卒業研究・卒業制作展
東京造形大学大学院修士論文・修士制作展
2026年1月23日（金）-25日（日）10:00-17:00
展示場所 : 2-102
東京都八王子市宇津貫町１５５６
相原駅より徒歩15分
相原駅東口より無料スクールバスあり
#tokyo #zokei展 #exhibition #現代アート #comtemporaryart
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From January 23, I will be participating in the 2025 Tokyo Zokei University Graduation Exhibition.
In this exhibition, drawing from my personal experiences and my view of life and death shaped since childhood, I regard the irreversible scars inscribed in leather as “forms of memory” — traces of time once lived.
Based on the cultural context of textiles, the acts of wrapping, connecting, and stitching are placed at the center of the work.
All stitching is done entirely by hand.
Within the exhibition space, the sound of breathing is present, and the sculpture moves in subtle synchronization with it.
Life is not presented as a visual object, but emerges as sound, presence, and the flow of time, suggesting that life and death, birth and loss, continue to circulate along the extension of everyday life.
If you are in the area, I would be grateful if you could take the time to experience the work.
明日1月23日より2025年度東京造形大学卒業制作展に参加いたします。
本展では、幼い頃からの死生観と自身の経験から、
革に刻まれた不可逆的な傷を、生きていた時間が残した「記憶の形」として捉え、テキスタイルの文化的文脈に基づき、包む・つなぐ・縫うという行為を制作の中心に据えました。
縫製はすべて手縫いによって行われています。
展示空間には呼吸音が配置され、それに同期し、彫刻が運動を行います。生命は視覚的な対象ではなく、音や気配、時間の流れとして立ち上がり、生と死、誕生と喪失が、日常の延長線上で循環していることを示す試みです。
お近くにお越しの際は、ぜひご高覧ください。
【概要】
2025年度東京造形大学卒業研究・卒業制作展
東京造形大学大学院修士論文・修士制作展
2026年1月23日（金）-25日（日）10:00-17:00
展示場所 : 2-102
全日全時間在廊予定
東京都八王子市宇津貫町１５５６
相原駅より徒歩15分
相原駅東口より無料スクールバスあり
素材提供 : sonor @sonorsonorsonor
#tokyo #zokei展 #exhibition #university #comtemporaryart
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Exhibition now on view —
the second life of wood begins.
Light, Returning
2025
Sculpture,Used skateboard,Iron mordant
Sponsord CANPiNTAN Skatepark&Shop
@canpintan_sk8
This work is made from 160 discarded skateboard decks.
This piece is constructed using 160 reclaimed skateboard decks.
The discarded skateboard decks bear traces of bodily movement and layers of incidental wear—marks that, like those inscribed on the leather I work with, can never take the same form twice. These traces are memories of what the material has undergone, a record of time embedded in its surface, readable as a kind of lived biography.
Grown in forests, felled, laminated, and consumed as tools, the wood would eventually return to the earth. Yet, by receiving new form as sculpture, it slips out of the terminal state of waste and transitions into another, quieter life. In touching that silence, the light seems to slowly unravel and seep into another register of time.
This work is an attempt to unearth such cycles as narratives already inscribed within the material itself.
The revealed colors and layered scars speak softly of the specific time the wood has traversed, rising as singular presences born from the intersection of nature and embodied action.
Together, these works make sculpturally visible the long temporal arc and metamorphoses the wood has carried, suggesting that life continues as it changes its form.
本作品は160枚の廃スケートボードデッキから作られています。スケートボードの廃デッキには、使用者の身体の軌跡や偶発的な摩耗が重なり、私が扱う皮革な作品と同じく、二度と同じ形をとらない傷が刻まれている。
それらは、素材が経験した出来事の記憶であり、時間が宿ったひとつの生命史として読み取ることができる。
森林で育ち、伐採され、積層され、道具として消費されてきた木材は、その後土へと還るだろう。しかし、彫刻として再び形を与えられることで、木は廃材という終端から抜け出し、静かな次の生命へと移行する。その沈黙に触れるとき、光はゆっくりとほどけ、別の時間へと滲んでいくように思う。
本作は、こうした循環を、素材自体に刻まれた物語として掘り起こす試みである。
現れた色と傷の層は、木が辿ってきた固有の時間を静かに語り、自然と身体行為が交錯して生まれた唯一性として立ち上がる。本作品群は、木という素材が宿してきた長い時間と変容の過程を彫刻的に可視化し、生命が姿を変えながら連続していくことを示している。
#exhibition #sculpture #artwork
#contemporaryart #woodsculpture #installationart
#skateboardart #materialmemory #transformation
#japanart #koyonakamura #newwork
#timeandmatter #arttokyo #craftandconcept
#lightreturning #recycledart #woodgrain
#artview #currentexhibition #nowonview
