Photo by Yusuke Omata

Kosuke Ajiro (b. 1980) is a Tokyo-based artist. He continues his pursuit from childhood to capture the “other world” within himself. His practice centers on acrylic painting, and also includes ceramics, sculpture, animation, music, and more. 

This imagined world draws from personal memory, everyday life, and inner mythology — but is presented as the remains of a lost civilization, complete with its own relics, stories, and symbolic figures. Ajiro approaches each piece like an archaeological fragment, marked by time and filled with references to origin myths, fables, and absurdities where cruelty and cuteness often coexist. 

His visual language reflects the influence of Japanese picture scrolls, medieval European manuscripts, folk art, Hieronymus Bosch, and contemporary character culture — blending surrealist play with psychological depth.

It’s a pleasure to have you here with us. How are you doing these days, Kosuke? How’s life in Tokyo?

Thank you as well for giving me this opportunity. Lately, I’ve been busy with back-to-back solo exhibitions and have been working on new pieces every day. I’ve lived in Tokyo ever since I was born. Although it can be a little noisy, I find it a very convenient and comfortable city to live in.

We’d love to know a bit more about you. What’s a typical day in your studio like? Could you share a few photos to give us a glimpse into your creative space?

I usually wake up around 6 a.m. and begin working on my art, wrapping up by the evening.At night, I go for a walk to bring the day to a close—that’s how my days go.

Kosuke’s studio

Your works often feel like a child’s dream of fairy-tale heroes, tarot characters, or medieval scrolls. How did you discover and shape this distinctive visual language?

As a child, I was completely absorbed in the Famicom, especially drawn to the Western fantasy worlds of games like Dragon Quest. 

During my school years, instead of paying attention in class, I spent my time doodling monsters, heroes, and maps on my desk. When I was in elementary school, Japan experienced an occult boom, and I was strongly influenced by things like Nostradamus’s Prophecies and mysteries of ancient civilizations.

From those experiences, I developed an interest in history, mythology, and religion, and I became particularly fascinated by artworks that used those themes as motifs. There was even a time when I wanted to collect real relics, but since I didn’t have the money, I tried to “create” them myself instead—which eventually led to the kind of work I make today.

Statue of Lolo

Your work feels so uniquely yours - what's your creative process like? Is there a particular method or routine you follow, or do you let inspiration guide you?

There are always several “voices” in my mind, and I paint as if responding to their whispers. For example, if I hear, “There’s a bird,” I wonder, “Is it perched on a tree? Or maybe tangled in vines? Could it be captured and burned?”—and my imagination begins to expand. As I let these voices guide my brush, the canvas gradually fills with images, and the work takes shape before me.

Do you have things that you personally collect that nurture this “other world” you create?

I don’t really have a collection, but I do gather art books of painters I like.

Each of your paintings feels like it carries its own story, almost as if it’s telling a myth or a fragment of history. Do you see every work as having a specific narrative, or do you leave room for viewers to imagine their own?

I create works related to an imaginary civilization called the “Kingdom of Sally.” In this world, humans, gods, and mythical beasts appear, and a myth-like fantasy unfolds. While I don’t consciously think about a narrative during the creative process and simply paint with an empty mind, I consider each finished work to be a piece that forms part of the “Kingdom of Sally.”

Someday, I would like to compile it into a written story, though the timing for completion is still undecided. My goal is to finish a complete version in 15 years, when I turn 60. At that time, I also envisioned creating a temple-like space for it.

(Left) The Future King (Right) The Fruit of Temptation

How do you personally define success? What does good work look like to you?

For me, success means completing the story of another world and building a temple-like museum to leave behind for future generations. A good artwork is one that conveys a strong sense of reality. And I believe it would be the ultimate achievement to create a masterpiece that symbolizes a civilization—like the mask of Tutankhamun.

In the ever-accelerating production and consumption cycle, how do you keep yourself inspired every day?

When I get too busy, it takes a toll on my mental health, so I try to be mindful and avoid that. At the same time, unless my mind is a little unsettled, inspiration doesn’t come—so it’s truly a double-edged sword. It’s a very difficult balance to manage.

Finally, could you share what’s next? Do you have any upcoming projects, exhibitions, or personal explorations you’re excited about?

I’m planning a solo exhibition in New York around September 2026. In fact, it was a trip to New York when I was 30—visiting galleries—that inspired me to seriously start painting. Since holding a solo show in New York has long been one of my goals, I’m really looking forward to it.

Travel Journal

Kosuke’s List

Favorite museum, bookstore, or local spot:

Tokyo Skytree

Favorite moment of the day:

Afternoon snack

Favorite photo from your recent camera roll:

A picture of my dog

A color you’ve been drawn to lately:

Green

Favorite spot at home or in the studio that makes you feel good:

The greenery visible from my window