Those were year 1990 wines (which was a hard year), and were sold at an auction, so the price really went high. was once a set of Romanée-Conti wines that sold for USD 28,112 = JPY 3,313,224.10. Meaning my and estimate of Chuuya’s earnings per month (~JPY 2,360,000) is still grossly lacking. Yeah, it’s misspelled as “Romanée-Konti”. Of course, Mori gives no damn because duh Chuuya has that kind of money to spend because of the organization lol.Īlright, I’m no wine connoisseur, but Google helps.Ĭhuuya opened a 1964 Romanée-Conti, right? Their sparkling eyes are staring into space, while reflecting both light and darkness, and those horns are a metaphor of wordless emotions like fury and despair that people feel towards unreasonable things in this world.” With each new piece, Shimoda advances her search for salvation and her deeper understanding of this chaotic world.THAT’S F*CKING EXPENSIVE-yes, possibly more expensive than the 1989 Petrus he opened when Dazai turned coat-SO F*CKING EXPENSIVE KOUYOU ACTUALLY HAD TO ASK IF IT WAS OKAY FOR THEM TO DRINK IT THAT WAY. Those vacant children are, so to speak, “cups of my emotions”- something which I could pour my emotion into. Those children who are wearing a vacant expression of despair and solitude are mirroring the emotions of the people who look at them. So, they could also exist beyond the realm of being children, and identify with anyone who might appreciate them. Not only do eyes communicate each character’s personality, they are also a reflection of Shimoda’s own feelings and ideas: In her portrait series “Whereabouts of God”, featuring other-worldly children adorned with a Chernobyl necklace, and “Children of This Planet”, children act as a blank canvas for what she describes as countless possibilities where fantasy meets with reality, past meets future, life meets death, and a world that is yet to be reborn. They also represent our adult desire to nurture the children of the world and to defend the world we have constructed.įollowing the Great East Japan Earthquake and accident of Fukushima Nuclear Power Plant in 2011, Shimoda became increasingly interested in various connections in the world. Such characters are a commentary on Christianity’s anointment of Jesus Christ as a savior of humanity, and a mirror of our fantasy heroes. Often depicting starry-eyed children, she dresses her characters in heroic costumes resembling Superman and magical girls, an anime sub-genre of young girls who uses magic, revealing problems and struggles in contemporary society through a juxtaposition of brushwork, text, and collage. Inspired by the Japanese manga and anime from her youth, Shimoda’s work expresses modern day issues in colorful and illustrative techniques. Soon after, she was selected for her first solo exhibition at Motto Gallery in Tokyo and has since held exhibitions in galleries worldwide, including Japan, the United States, Canada, and Europe. Based in Nagano, Japan, Shimoda first studied illustration at the prestigious Kyoto Saga University of Art and Aoyama Juku School before beginning her career as a professional contemporary artist in 2008. Sparkling and sweet, Hikari Shimoda’s work is at once enchanting and disarming, portraying a world where cuteness and horror coexist.
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