Japanese pop artist and member of Takashi Murakami's Kaikai Kiki Collective.
Aoshima's works are considered superflat, the postmodern art movement which was founded by Takashi Murakami. Using digital drawing tools Aoshima creates unique lolicom scenarios, featuring nymphettes cavorting with animals, cheerleaders gone awry, and blood-stained sashimi slicers, all depicted with soft, cool colors, little modeling,and a dreamy, teen point of view.
Chiho's heavy use of feminine figures with big eyes, small facial features, thin bodies makes the shōjo's, a young woman approximately 7–18 years old, body cute but sometimes ugly, scary, and funny. The physical transgressions and unpleasant presentations challenge what is cute and beautiful about the objectified shōjo, and Aoshima makes this point via a flowery, cute shōjo aesthetic.
Artists who use shōjo techniques are often critiqued for perpetuating cultural norms through their use of gender defining roles for their female characters. Oftentimes shōjo is seen as a feminist movement, however Chiho denies any such political affiliation.
exerpt from Wikipedia
- How does her work draw on the traditional artwork of Japan? How does she diverge?
- What is the connection between her work and the history of animation/anime in Japan?
- What are the advantages/disadvantages of doing video installaiton vs. just video?
- What kinds of images does she use in her work? How might her work be interpreted?