2008Studied traditional ceramic techniques in Arita, Saga Japan
2006Studied and worked with lithographer Satoru Itazu in Tokyo and at Queensland College of Art, Brisbane
1978Studied at Print Workshop, London
1974-78Travelled studying art collections in UK, France, The Netherlands
1974-76Studied etching at Tokyo Hanga Kenkyujo. Admitted into Japan Printmakers Association
1965-68Dokkyo University, Tokyo
2014established studios
in Arita (Japan)

2015Ero Gro Kawaii, La Lanta Fine Art, Bangkok
2013Ero Gro Kawaii, V Art Center, Jiaxing chaos
2012Yume Makura, Jan Manton
2010Heaven and Hell, Jan Manton Art, Brisbane
2005Kiss Kiss, Ray Hughes Gallery, Sydney
1989Sugar Cane, B&C Gallery, Gold Coast
1986Ningyokan Gallery, Tokyo
1984NDA Gallery, Sapporo, Japan
St. Paul Gallery, Maebashi, Japan
1983Works 1974 – 1983, Gallery 39, Sydney
1979Gallery Wilart, The Hague, Netherlands
1978Amsfort Gallery, Amsfort, Netherlands
1971KFS Art Contest Grand Prix, Galleria Grafica, Tokyo

Art Gallery of NSW
Private collections Australia and overseas
2020Monster Again, La Lanta Fine Art, Bangkok
2019Always Arita, SAC Art Lab, Chaing Mai
2012International Monster Project Inaugural Show at La Lanta Gallery Bangkok
2011Sanbao International Ceramic Museum Opening show
2009Satellite APT, Jan Manton, Brisbane
1986Most Promising Artist Grand Prix Print Contest, Ryu Gallery, Tokyo
1980Kings Road Gallery, Bristol
1977Japanese Print Association Contest Annual Exhibition, Tokyo
1976Japanese Print Association Contest Annual Exhibition, Tokyo

1975Japanese Print Association Contest Annual Exhibition
1974Japanese Print Association Contest Annual Exhibition, Tokyo
Winner of Japan Printmakers Grand Prix, Tokyo
1971Winner of KFS Art Contest Grand Prix, Tokyo

1974Illustration in Japan
1973Illustration in Japan

1971-83House Ilustrator for Hayakawa Mystery Magazine
Various commissions for Kodansha Publications and Shimpyosha





Born in Isesaki, Japan, to a family who ran a weaving factory, Shin began his artistic path as a textile designer. After a working as a freelance illustrator, Shin moved to Australia where he established a printmaking gallery in Sydney. Before emigrating, he won numerous awards in Japan such as the Japan Printmakers Grand Prix and the KFS Art Contest Grand Prix.

Shin’s work features in the collections of the Sanbao International Ceramic Art Institute (Jingdezhen, China), the Art Gallery of New South Wales (Sydney, Australia), as well as numerous private collections.

He expanded his international activity by establishing a ceramics studio in 2013 at Jingdezhen, China. Shin also maintains studios in Arita (Saga Prefecture, Japan) since 2014 and on the outskirts of Chiangmai (Thailand) since 2018. Shin collaborates with artists in these regions to design and produce his works.

Shin’s unique oeuvre includes contemporary arrangements of traditional Japanese patterns and Ukiyo-e, detailed depictions of figures based on his own memories, as well as idiosyncratic handmade ceramic objects (dolls) with exaggerated forms. All Shin’s work expresses his inspiration earned through rich experience, along with his ceaseless imagination and passion.

History repeated.
Shin Koyama’s work requires deep contemplation. It is not something that is easily consumed. But then history rarely is. Koyama’s work draws heavily on the Japanese traditions of Emaki-mono(picture scroll), Shunga(erotic woodblock prints), and Manga(comic animation). The history involved in these art forms is extensive, and each chronicles the changing culture of Japanese society. Building upon these traditions, Koyama addresses the continuing role of the modern day artist as the recorder of events, culture, and people.
Central to all of this is Koyama’s own history as a Japanese diaspora now residing in Australia, who spends time year working in China and Japan. Koyama’s experience growing up in a rapidly changing post-war Japan is evident in the works he grapples to translate the immense depth of rich cultural history and traditions in the works. The result is captivating.
Mythology is a recurring theme in Koyama’s work as he explores traditional Japanese creatures alongside those whose appearance in history remained overlooked until Koyama unearthed them from the depths of his imagination. Koyama’s ceramic work often depicts such creatures including those from the Chinese Zodiac. Recently modern day figures have made an appearance as they themselves capture a period in time otherwise forgotten. Perhaps Koyama intends this to act as a reminder of those traditions that are declining in contemporary society, questioning the role they still might have to play.
Destruction and devastation are also repeated motifs in Koyama’s work. However the reenactment of such sentiments produces often surprising results. The 2011 Pikachan scrolls were made in reaction to the recent devastating earthquakes and tsunami in Japan. This mythical creature of Koyama’s creation is the instigator of these events, and one who takes the role of a trouble-maker seriously. Pika don is the Japanese word used to describe the atomic bomb. ‘Pika’ means brilliant light, whilst ‘don’ is used to describe the sound the bombs made. Koyama’s use of this terminology alongside the honorific word for child or friend historically places this creature in the realms of devastation experienced through the atomic age.
Koyama’s practice transcends mediums, just as his works transcend the ages. In some historic events are captured, others discuss contemporary happenings, or cultural mythologies both present and past. All act as a reminder of the importance of our past, as it creatures the basics of our present and the foundation of our future. As the recorder of history, Koyama continues to challenge ordinary perceptions and brings forth new perspectives to be considered. After all, when history is repeated there is always a new angle to contemplate.

Miriam Carter

Shin Koyama的作品并不太容易被读懂和理解,换言之则是需要欣赏者具备很深刻的审美观。在他的作品中很少能找到历史的痕迹,反倒在很大程度上巧妙运用了日本传统的Emaki-mono(画卷),Shunga(情色的木板画)和漫画(动画)。这些元素被大量运用到他的艺术作品中,每件作品都记录了日本社会的文化变迁。世事变迁,Koyama坚持不懈地以传统为基石,用现代艺术家独特视角记录着事件,文化和民众。

Miriam Carter