At the @hufjp Art show with @toddfrancisart and @porous_walker , I was lucky enough to have them draw a portrait of me. It was so fun and made me feel genuinely happy. Talking with them also brought back so many memories of Keith. I feel like writing about him once in a while.
Back then, I had no connections at all, but Keith was the first person who started introducing me to his friends. The people he introduced me to in LA were all famous skaters I had only seen in magazines and videos—it felt unreal.
About 15 years ago, he was also the one who told me to start Instagram.
I’m still connected with many of the artists and skaters he introduced me to. Todd is one of them, and I’m always grateful for what Keith gave me.
Keith used to send me links to Porous Walker’s work all the time—videos that were totally ridiculous, like fireworks strapped to a dick and flying through the air. I remember laughing every time I saw them. This time, when I finally met Porous and talked with him, he told me that Keith had also sent him images of my work back then. Hearing that really moved me.
It’s sad to think about, but to be so loved by your friends and to be missed like that when you pass… what a beautiful way to go.
Even now, the fact that he asked me to make the urn for his ashes remains one of the greatest honors of my life.
I don’t think I can live the way he did, but I hope to live in my own way, all the way until the day I die.
“ABACO” — Work in progress photos for @artbasel HK from @nanzukaunderground
About two years ago, influenced by a friend, I found myself getting back into motorcycles—something that used to be part of my everyday life. I started repairing bikes I hadn’t ridden in a while, and little by little, I became absorbed in them again. Before I knew it, that influence began to appear in my work.
I believe that the way I see and feel about what I’m currently into offers the clearest resolution, and that moment is exactly when creation should happen. Because of that, I was able to truly enjoy making these new ABACO works.
When I looked at a motorcycle from the front, I suddenly thought, “What is this? It looks like a face.” From that moment on, the handlebars became eyebrows, the headlight a nose, the indicators and mirrors turned into eyes, and even a torn seat looked like a mouth. At some point, even the engines I admire began to appear as faces. It felt as if I had wandered into a kind of wonderland for a while.
I think this work expresses a world with a generous sense of diversity—one that accepts the merging of old kokeshi dolls and equally old motorcycles.
I plan to continue developing this series moving forward. ２年くらい前からか、友人の影響で以前は毎日の足にもなっていたバイクに再び興味が出てきて、しばらく乗ってなかったバイクを直したりと少しずつハマっていき、気がつくと作品にもその影響が出てきました。自分が今ハマっているものに対しての自分の目線や気持ちこそが1番クリアな解像度があり、その時こそが創造のタイミングだと思っているので、実に楽しく新しいABACO達を製作することができました。バイクを正面から見た時に、なんだこれ、顔みたいだな！と思ったらもうバイクののハンドルは眉毛にしか見えなくなり、ヘッドライトは鼻、ウインカーやミラーが目に、敗れたシートが口に見えたり、憧れのエンジンでさえ顔に見えてしまい、しばらくは不思議の国に迷い込んでいたようでした。古いこけしとこれまた古いバイクが混ざりあうことも受け入れる寛容な多様性のある世界を表現できたと思います。これからもこのシリーズは続けていこうと思っています。
English version below.
In 2003, the very first time I ever visited the U.S., my childhood buddy, Yamachan, let me crash at his place in LA. He was working for a Japanese trading company, handling denim business in the U.S. back then. Time passes by to 2023, I was looking at one of the vintage embossed denim jackets I had collected over the years and thought, “what if I could create my own dream jacket with this kind of texture and presence?” That was the moment I decided to reach out to Yamachan, who had become the head of the Japan branch of a major global denim company, to get it started.
What started as a casual conversation turned into something much bigger than I ever imagined. I had no clue how intense the journey would be.
We created countless samples. We failed over and over designing the embossing molds. We rebuilt the silhouette from scratch, drafted new patterns, tested different washes and finishes—2 full years of trial, error, and obsession in pursuit of my ideal denim jacket.
After an incredible amount of time, effort, and cost… the GUZO jacket was finally born.
To Yamachan, who ran around making this happen.
To Yugo, who revised the design data again and again.
To the factory artisans in Japan who took on our unreasonable requests.
This piece is essentially 100% made in Japan—except for one detail. The leather label is made in Italy by the same company that produces labels for high-end luxury brands. Thank you for being part of such a small, passion-driven project.
Production numbers are extremely limited. And honestly, we won’t be making this again. There’s only one size: a slightly oversized L.
Why? Because I made it to fit me perfectly, LOL.
If it feels big on you, roll up the sleeves, wear it loose—make it your own. That’s the beauty of it.
Release is scheduled for February 25th at 9:00 PM (Japan time).
I’ll add the link to my bio — please purchase through that link.
And of course we can ship internationally!
Arigato !
ぼくが初めてアメリカに行った2003年、LAで僕を泊めてくれたのが幼馴染の山ちゃんでした。彼は当時は商社のデニム部署にいてアメリカに駐在していたのです。僕はちょうど使い終わったスケボーからものを作るプロジェクトを始めるときで、そのスケボーで出来たペンダントなんかを少しだけ配って回ったり、ベニスビーチで滑ったり、初めて見た消化性をオーリーで飛んだりした事を覚えています。そういえばサーカのムスカモデルも買ったな〜笑。
そして時は流れ2023年、好きで集めていた80年代から90年台のエンボスデニムのビンテージジャケットを見て、この感じで僕のドリームジャケットが作れないかな、と思いました。そして、この時僕は初めて山ちゃんに相談してみようと思いました。なぜなら彼は現在、海外のとても大きなデニム会社の日本支社長になっていたからです。こんな気軽に始めたプロジェクトだったのですが、まさかこれほど大変な作業が待っているとは夢にも思いませんでした。
そこから数多くのサンプルを作り、エンボスの金型デザインの失敗を繰り返し、シルエットの型紙を作り、加工のテストをしたりと僕の理想のデニムジャケットを作るべく試行錯誤の日々が約2年続きました.....。そしてものすごいコストと手間をかけて、ついに完成したのがこのGUZOジャケットなのです！駆け回ってくれた山ちゃん、何度もデザインのデータを直してくれたゆうごくん、無理を聞いていただいた工場の職人さんたち、100% made in Japan です...いや実はレザーのラベルだけなんとイタリア製なのです！本当にありがとう！
数量は限られていますが、2度と作れません。サイズは大きめのLサイズのワンサイズオンリーです。なぜならば、私にピッタリのサイズを作ったからです笑。このジャケットが大きい人は、ゆったり袖をロールアップして着たり、それぞれの着方を楽しんでいただけたらと思っています。
発売は特設haroshi web shop で日本時間の2月25日の夜9時を予定してます！shopはinstagramのトップにリンクを貼っておきますので、そこからよろしくお願いします！✌️
This year began with the bitter cold of New York in January, followed by a trip to Kyoto in March.
In April, I had the opportunity to teach a class at a junior high school in Nichinan City, Miyazaki Prefecture.
From the start of the year, I worked on a design project for Budweiser, which developed into a campaign over the summer.
I also held a solo exhibition at Abaco, presenting sculptures that were not made from skateboards, and last month, I wrapped up the year by debuting my denim patchwork works at Art Basel Miami.
Looking back, it was an incredibly busy and fulfilling year.
I would like to express my heartfelt gratitude to all the fans,collectors ,friends, and gallery who supported and joined us in these new challenges.
As we move into 2026, I’ve been really encouraged by many people asking if I’ll be sharing explanations of my works again. With that in mind, I plan to continue posting little by little.
And something I’ve been quietly preparing over a long period of time is finally almost ready to be revealed—please look forward to it!
ARIGATO !
Haroshi
今年は一月から極感のNY、三月に京都に行き、四月に宮崎県日南市で中学校の授業も経験させていただき、年始からバドワイザーのデザインをして夏の間にキャンペーンをやり、スケートボード以外の彫刻のAbacoで個展を開催し、そして先月のアートバーゼルマイアミでデニムのパッチワークの作品を発表して今年を締めくくるという、振り返ればなんとも忙しい一年でした。私たちの新しい試みに付き合ってくださったHaroshiの作品を好きでいてくれる皆さん、友人達、ギャラリーには心より感謝しています。
2026年は何人もの方からまた作品の解説をやらないのか、と嬉しいお声をかけていただけたこともあり、またコツコツ投稿していこうと思っております。
そして長い時間をかけて仕込んできたものも、ようやく発表できそうです！ぜひ楽しみにしていてください!2026年もどうぞよろしくお願いします。
ハロシ
It’s an honor to have you all at my studio !Thank you so much for coming! I’m really looking forward to see you again at HCS on Sunday!
@iwasjeffdecker@sin_takizawa ❤️❤️❤️
