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, KASHOUMON -Corner Protection-Ⅲ, 2023, Marble, 5.1 x 5.9 x 5.9 in (13 x 15 x 15 cm)

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. In working with marble—a material historically central to the Western sculptural canon—Asaka brings the quietly rigorous spirit of Japanese kōgei, in which a maker devotes themselves to a single material and technique, allowing the artwork to emerge not from preconceived form but from an intimate, sustained dialogue with the material itself. His practice also resonates with postwar Japan's Mono-ha movement, which foregrounded raw materials and their inherent properties; like the Mono-ha artists, Asaka draws our attention to the essential nature of his medium, yet subverts expectation by transforming noble stone into the guise of the utterly disposable.

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

Aya Fujioka (b. 1972, Hiroshima, Japan)

Award-winning photographer Aya Fujioka presents her never-before-seen series IPÊ-ROSA, a body of work over two decades in the making. The project traces the hidden history of her grandmother Kimie, who was born in 1918 to Japanese immigrants in São Paulo, Brazil, and returned to Hiroshima with her family just before World War II. Beginning in 2002, shortly after Kimie's passing, Fujioka traveled to Brazil to recover her grandmother's silenced past, welcomed by elders of the Japanese immigrant community who shared memories of longing for Japan and love for their adopted land. The chronicle gradually turns inward, becoming Fujioka's own story of absorbing and making sense of her family's history and the weight her country carries. The title refers to one of Brazil's national flowers, whose pink blossoms evoke the cherry trees of Japan for many who emigrated. Spanning two journeys across ten years, the work weaves personal and collective memory, rooted in the Henri Cartier-Bresson tradition of documentary photography that would come to define her acclaimed series Here Goes River (2017).

Eri Iwasaki, Dust Bunny - In a Small Corner of the World, 2025, Natural mineral pigment, platinum paint, gofun, akatsuchi on washi paper (kozo) mounted on wood panel, 51.3 x 63.8 x 1.4 in (130.3 x 162 x 3.5 cm)

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, gold leaf, and platinum paint, she constructs luminous figures of women and children that seem to emerge from velvety, pitch-dark grounds—at once earthly and celestial. Their faces carry the serene, inscrutable expressions of deities, inevitably reflecting the influence of Buddhist sculptures and painted scrolls that permeate her daily life in Kyoto. Yet this transcendence is rooted in lived witness: for years, Iwasaki has worked as a courtroom illustrator, observing firsthand the moments when people are unjustly crushed by circumstance and society. It is precisely this experience that drives her desire to portray the strength and dignity of the vulnerable—figures who, despite everything, refuse to be diminished. Her vision finds resonance with the literary worlds of Mieko Kawakami and Sayaka Murata, Japanese women novelists now gaining wide international readership for their unflinching portrayals of those on society's margins, as well as with contemporary painters such as Sasha Gordon and Hayv Kahraman, who similarly center the quiet power of female and marginalized subjects.

 Toshiyuki Kajioka, Mujou / Impermanence, 2024, Sumi Ink, pencil on washi paper (Kochi Mashi) mounted on wood panel, 89.5 x 71.6 x 1.5 in (227.3 x 181.8 x 3.8 cm)

Toshiyuki Kajioka (b. 1978 in Tokyo, Japan)

Toshiyuki Kajioka has stoically painted the same subject for twenty years: the surface of a flowing river. Viewed from afar, his paintings present a monolithic, near-impenetrable surface. Up close, they reveal painstakingly detailed brushwork in sumi ink and graphite pencil, depicting the layered, ever-shifting movement of water. Kajioka's process begins with evening visits to a neighboring river or lake, where he observes the water's surface for hours in near-darkness. Back in his studio, he paints from accumulated memory, seeking to capture the sense of awe he experiences alone in the pitch dark. Deeply rooted in the East Asian tradition of ink painting—and in the Japanese artistic discipline of committing wholly to a single material and method—Kajioka's transcendent work inevitably comes full circle to the masters of Western abstraction such as Ad Reinhardt and Mark Rothko, whose paintings, whether the artists themselves acknowledged it or not, were profoundly shaped by Zen philosophy.

For press and inquiries, contact info@seizan-gallery.com