Dallas Art Fair | Booth B6 (April 16 - 19, 2026)

HIROYOSHI ASAKA, AYA FUJIOKA, ERI IWASAKI, TOSHIYUKI KAJIOKA

Thursday, April 16: VIP Preview + Preview Benefit

Friday-Sunday, April 17-19: Public Days

1807 Ross Avenue

Dallas, Texas 75201

Toshiyuki Kajioka, Rhythm, 2025, Sumi Ink, pencil, suihi, mica on Washi paper (Kochi Mashi) mounted on wood panel, 35.8 x 35.8 x 1.5 in (91 x 91 x 3.8 cm)

SEIZAN Gallery is pleased to announce its inaugural participation in Dallas Art Fair, taking place April 16 – April 19, 2026, at 1807 Ross Avenue. The gallery will present works by Hiroyoshi Asaka, Aya Fujioka, Eri Iwasaki and Toshiyuki Kajioka.

Hiroyoshi Asaka (b. 1977, Osaka, Japan)

Asaka is a sculptor whose work playfully unsettles our assumptions about material and value. Carving marble entirely by hand with self-modified tools, he meticulously recreates the look of lightweight white Styrofoam—an industrial material typically associated with packaging and disposability. The resulting sculptures are striking in their precision: blocks, box lids, and fragments that appear casually ordinary at first glance, yet reveal themselves, upon closer inspection, to be painstakingly carved stone.

Aya Fujioka (b. 1972, Hiroshima, Japan)

Fujioka studied photography at the College of Art, Nihon University. From 2007 to 2013, Fujioka lived in New York with support from the Agency for Cultural Affairs of Japan. Her photobook of her hometown Hiroshima, Here Goes River (Akaaka, 2017) earned multiple major awards including the Kimura Ihei Award. Her work has been widely exhibited, including at the 21st Century Museum of Contemporary Art in Kanazawa and the Irie Taikichi Memorial Museum of Photography in Nara. Her publications include Comment te dire adieu (Ricochet) and I Don’t Sleep Public (Akaaka). Fujioka’s work is held in the permanent collection of the San Francisco Museum of Modern Art. She lives and works in Kyoto, Japan.

Eri Iwasaki (b. 1968, Hyogo, Japan)

Iwasaki is a contemporary Nihonga painter who reanimates traditional Japanese materials and techniques to create quietly powerful, otherworldly portraits. Working with mineral pigments, washi paper, gold leaf, and platinum paint, she constructs luminous figures that seem to emerge from velvety, pitch-dark grounds—at once earthly and celestial. Deeply influenced by the premodern Buddhist sculpture and painted scrolls that permeate her daily life in Kyoto, her subjects recall bosatsu (bodhisattvas) in their serene, inward gazes and androgynous grace, embodying compassion without sentimentality. Yet her paintings are not devotional images; they are psychological portraits shaped by her long experience as a courtroom illustrator, where she witnessed both cruelty and resilience. This dual awareness lends her figures a striking stillness and moral gravity. Often depicting women or children poised in ambiguous, clouded spaces, Iwasaki captures what she describes as the essence of independent existence—fragile yet steadfast, vulnerable yet unyielding. Rooted in centuries old Nihonga practice but unmistakably contemporary in sensibility, her work occupies a space between reality and imagination, intimacy and distance, offeringportraits that feel timeless, enigmatic, and profoundly human.

Toshiyuki Kajioka (b. 1978 in Tokyo, Japan)

Kajioka has stoically painted the same subject for twenty years: the surface of a flowing river. Working in sumi ink and graphite pencil, he explores the transcendental wildness and tranquility of watery depths.

Aya Fujioka, IPÊ-ROSA, 2002/2026, Chromogenic print, 23.6 x 35.4 in (60 x 90 cm)