YOKOYAMA Mai / 橫山麻衣
Japan
2025
“In the Shadow of the Sun,” Solo Exhibition, KATSUYA SUSUKI GALLERY, Tokyo, Japan
2024
“Art Squiggle Yokohama 2024,” Group Exhibition, Yokohama Yamashita Pier, Kanagawa, Japan
2023
“Hidden Mountain,” Solo Exhibition, YIRI ARTS, Taipei, Taiwan
2022
Art Fair: ART TAIPEI 2022 (YIRI ARTS), Taipei World Trade Center, Taiwan
2018
Ph.D. in Painting (Printmaking), Tokyo University of the Arts, Japan
2025
「陽光陰影之下」個展 東京 KATSUYA SUSUKI GALLERY
2024
「Art Squiggle Yokohama 2024」聯展 神奈川橫濱山下碼頭
2023
「隱山」個展 臺北伊日藝術計劃
2022
台北國際藝術博覽會（伊日藝術計劃） 台北世界貿易中心
2018
日本東京藝術大學繪畫（版畫）博士
The Eight-Forked Serpent in the Forest 林中的八岐大蛇
2025 / Watercolor on paper 水彩 紙本 / 56 × 76 cm
The Eight-Forked Serpent, a legendary Japanese monster, is said to have eight heads and eight tails (in this work, only eight heads are depicted). Its form inspired the image of a palm tree: the trunk represents the body, and the fan-shaped leaves suggest multiple heads, evoking a fantastical serpent.
八岐大蛇是日本傳說中的怪物，據說有八個頭和八條尾巴（此作品中僅描繪了八個頭）。牠的形象啟發了對棕櫚樹的想像：樹幹代表身體，扇形樹葉則暗示著多個頭部，引出一種奇幻大蛇的意象。
Ancient Rain 古老的雨
2025 / Watercolor on paper 水彩 紙本 / 56 × 76 cm
Ancient Rain is a work depicting Mount Etna, rain, and trees. The falling rain is not of the present, but feels like a memory that has continued to fall upon this land since ancient times.
本作描繪了埃特納火山、雨水與樹木。落下的雨水並非當下的雨，而更像是自古以來就持續落在這片土地上的記憶。
A Red Livistona Palm 一棵紅色的扇葉蒲葵
2025 / Watercolor on paper 水彩 紙本 / 56 × 76 cm
Growing up by the sea, I have always felt a deep familiarity with palm trees. Swaying in the ocean wind, their fan-shaped leaves ripple like waves, at times taking on a vitality that feels almost alive. In their movement, I see echoes of The Eight-Forked Serpent, a legendary Japanese creature of eight heads.
我在海邊長大，對棕櫚樹有著深刻的熟悉感。它們在海風中搖曳，扇形的葉片像波浪般蕩漾，有時展現出幾乎活起來的生命力。在它們的舞動中，我看到了日本傳說中有八個頭的傳奇八岐大蛇的迴響。
A Horse Hidden in the Forest 藏於林中的馬
2025 / Watercolor on paper 水彩 紙本 / 56 × 76 cm
This work is based on small bronze horses I encountered during my research in Italy last year. Most excavated artifacts have spent an unfathomable length of time buried underground before returning to the surface. Detached from their original era, meanings, and forms, they appear slightly distorted, yet strangely natural in their presence. I wondered why.
作品的靈感來自於我去年在義大利研究期間遇到的小型青銅馬。大多數出土的文物在重見天日之前，都在地下度過難以理解的漫長時光。它們脫離了原有的時代、意義與形式，顯得有些扭曲，但本身卻又異常地自然。我不禁好奇原因是什麼。