Who is Shuko Tsuchiya?

Contemporary ink painter Shuko Tsuchiya has mastered the Shijo techniques of the prestigious Maruyama School, founded in the late 18th century by Maruyama Okyo, a pioneer of Japanese painting. At the same time, he is known for his distinctive style that incorporates modern materials, like markers and fluorescent acrylics. From collaborations with luxury brands such as Christian Dior and Fendi to live performances at high-profile international events, Tsuchiya has garnered global acclaim. In this interview, we explore the roots of his artistic world, the uniqueness of ink painting as a Japanese cultural form, and its relevance in the context of the inbound tourism boom.

Table of Contents

• Breaking the Style

• The Beauty of "Wabi-Sabi," Where Something Exists in an Empty Space, and the Intentional Dissonance with Tokyo Culture

• "Mental and Physical Discipline" Is the Essence of Ink Painting. The Inbound Tourism Boom as a Chance to Share Japanese Culture

Breaking the Style

Tell us how you entered the world of ink painting and about your career so far.

It all started when I was a child visiting my maternal grandfather’s inn in Gero Onsen, Gifu Prefecture. Business was booming during the early Showa era (1926-1989), and he had collected a lot of Japanese paintings. Every summer, I would wander around the inn looking at the ink paintings on display. Even as a kid, I was drawn to their indescribable charm and enjoyed spending time with them.

In the 1980s and 1990s, during my teenage years, American culture such as “Amekaji” (American casual) fashion and motorcycles, was extremely popular. I myself wore leather jackets and rode American-made bikes. Due to the popular influences back then, it was difficult to openly admit to being interested in something like ink painting. One day, I casually mentioned my interest at home, and my mother told me there was a famous teacher nearby and suggested I visit. So, in my second year of high school, I started riding my bike to lessons, and it turned out to be incredibly fun. The teacher told me I had a natural talent and should pursue it seriously.

I had already planned to study abroad in Australia for a year after graduating high school, so, I devoted myself to ink painting for that year, then left for Australia. While there, people often asked me about Japanese culture and history, but having studied ink painting for only a year, I honestly couldn’t answer much. I felt ashamed and resolved to take it seriously. After returning to Japan, I asked my teacher to take me back, and perhaps because I had an eye for it, I became certified as a master within just two years.

My teacher then asked me whether I wanted to pursue a path as a creator or as a teacher. At that age, I couldn’t possibly make such a decision, so I began doing both teaching, and creating artwork.

At the time, Western culture was still strongly admired in Japan, and few people were interested in traditional Japanese culture. No one was buying ink paintings from a 21-year-old kid, and all my students were elderly women. But I still had vivid memories of my frustrations abroad, so I handed out flyers and put up English-language posters in areas with many foreigners.

What was the turning point in your career?

I was also in a band back then. One day, between sets at a gig featuring my band and a friend’s band, I did a live ink painting performance. Traditionally, ink painters perform “kigo,” or live calligraphy/painting in front of an audience. I painted quickly and powerfully as a form of entertainment, and it was a big hit.

At the time, live painting wasn’t common in Japan, so I got featured in magazines aimed at foreign audiences. Suddenly, my audience changed. Fashion stylists and creatives started coming to my shows, saying things like, “This event is wild!” They started asking me to collaborate on photo shoots, music video backdrops, fashion shows, you name it. That access to the fashion world rapidly expanded my artistic vision.

Did your style diverge from traditional ink painting at that point?

Traditional ink painting is about inheriting and continuing the styles and compositions of your teacher. I was starting to get bored with that, but I also felt conflicted. Was it right or wrong to break from tradition?

In fashion, everything changes with the seasons: designs, show formats, everything. So naturally, my stylist friends would say things like, “Aren’t you tired of doing the same thing?” I got a little offended at first, but deep down, I realised they were right, I was tired of it. So, in my 10th year as a certified master, I began to “destroy” my style. I started using fluorescent colours, adding the alphabet, and experimenting with new compositions.

The Beauty of “Wabi-Sabi,” Where Something Exists in an Empty Space, and the Intentional Dissonance with Tokyo Culture

Could you explain what makes ink painting such a special form of art?

Ink painting came to Japan in the 13th century via Zen monks. By the Edo period, it had evolved into an art that expressed uniquely Japanese aesthetics like wabi-sabi, the philosophy of finding beauty in simplicity, stillness, and imperfection. This sensibility also exists in tea ceremony and ikebana (traditional Japanese floral arrangement). It’s a stark contrast to the opulence that can be found in some other cultures, as it encourages you to find beauty in what’s not there. It’s minimalism at its most refined.

In terms of composition, Japanese ink painting deliberately leaves blank space (yohaku). Unlike Western paintings, which typically fill the canvas, ink paintings invite the viewer to mentally complete the image. If a painting shows bamboo, the empty space behind it might evoke mountains from the viewer’s own memory. This is known as shakkei, or “borrowed scenery.” It’s a core part of Japanese artistic sensibility.

You've reinterpreted this 800-year tradition using modern materials and are now sharing it globally. What subjects are you focusing on in this effort?

Japan’s urban environment is uniquely strange when compared to other countries. For example, in Kyoto, centuries-old temples sit next to bullet trains and skyscrapers. Japanese people accept this as normal but it’s actually quite unique.

In Tokyo, you can see graffiti on aging buildings which might be vandalism, but it’s also street art coexisting with history. I want to reflect that in my work by bringing together street culture and ink painting, creating a deliberate sense of contrast that still feels natural. It’s a visual metaphor for modern Tokyo.

“Mental and Physical Discipline” Is the Essence of Ink Painting. The Inbound Tourism Boom as a Chance to Share Japanese Culture

What kind of work have you done with inbound tourists so far?

Foreigners have been joining my classes and workshops for a while, but lately their interest has deepened. Many visitors now come already familiar with Japanese culture and eager to learn seriously. Some even take intensive private lessons for a week. I’ve taught an NFL team owner, a Google executive, and more.

In the past, Google has used ink painting for team-building workshops. One approach uses abstract ink painting in which participants paint freely based on a theme in 3 to 5 minutes. Repeating this reveals parts of their inner selves. They then share their interpretations with each other, which helps build team understanding. This method has since spread to other companies.

Finally, do you have a message for people involved in inbound tourism and cultural exchange?

Unlike Western painting, ink painting isn’t about slowly building a piece. When you want to draw a straight line, your body has to move in one fluid motion. You don’t sketch it out or dab it on; you draw it in one go. That requires mental focus and a well-aligned core.

In that sense, it’s like Zen: training the body to move freely and precisely in a state of mushin (no-mind). You calm your mind, align your center, and draw a clean line without hesitation. Experiencing that even once can be transformative. I hope more people can try it for themselves. I plan to continue offering opportunities for such experiences.

Interview and writing by Hidenori Hino / Freelance Writer, Translated by Margot Nouchi