“I don’t feel I’m really painting unless my hands are in direct contact with the paint. It’s more fun that way.”
— Ayako Rokkaku

Born in 1982 in Chiba, Japan, Ayako Rokkaku is celebrated for her groundbreaking technique of applying paint directly with her hands, an approach that imbues her work with energy and spontaneity. This technique leads to an almost pointillist effect, reminiscent of the Impressionists with a distinctly Japanese sensibility, creating works that are both dynamic and whimsical.

The present lot Untitled embodies key aspects of Rokkaku's artistic vision whilst demonstrating her painterly prowess through the depiction of a colourful, dreamlike scene. The painting features a girl, eyes wide with curiosity, surrounded by a cascade of colourful balloons. These balloons, rendered in bold pink, green, blue and yellow, are floating with lightness, the colours blending into the canvas in a harmonious way.

Detail of the present lot

Ayako Rokkaku live-painting the present lot
Image: Courtesy of Gallery Delaive

The girl with the little elephant anchors the overall composition, her eyes gazing towards us as if inviting the viewer to share her sense of wonder. The ballons floating with joyous colours also create a visual balance with the character, with the background fused with loose, free, expressive brushstrokes that echo the main colour palette.

Rokkaku’s finger-painting technique adds a tactile quality to the work, with thick layers of impasto creating a textured surface that invites closer inspection. This method allows her to engage with the canvas in an almost performative manner, each stroke brimming with the artist’s physical energy and emotional depth. In her other oeuvre, she has also gone beyond the medium of canvas and created works that are more immersive, for example, the Untitled (Wooden House) installation from 2019, in which her signature whimsical style is showcased in a captivating, engaging three-dimensional form.

Ayako Rokkaku, Untitled (Wooden House), 2019

Rokkaku’s ability to capture the essence of childhood wonder truly stands out in the present lot, through her innovative and expressive technique. Her works invite viewers into a world where imagination and colours form a fairytale. Through her unique approach, Rokkaku bridges the gap between art and imagination, leaving a lasting impression of joy and curiosity. Her works would continue to enchant the audience worldwide, standing as vibrant reminders of the beauty found in simplicity and playfulness.

Collector’s Digest
- Born 1982 in Chiba, Japan, Ayako Rokkaku began her artistic career in 2002, during her early twenties. Rokkaku quickly established herself on the international art scene after exhibiting at the 9th edition of the Geisai art fair in 2006 and was awarded the prestigious Akio Goto Prize, founded by Kaikai Kiki Studio which is led by art world giant, Takashi Murakami.
- In 2018, Phillips Hong Kong was the first to bring Rokkaku to the eyes of the market with a selling exhibition, Sam Francis, Walasse Ting & Ayako Rokkaku: Perpetual Colours, selling out before the first day of the opening. Since then, demand for the artist has exploded internationally. Rokkaku’s works are included in the permanent collections of the Powerlong Art Museum, China; Sehwa Museum of Art, South Korea; the 21st Century Museum of Contemporary Art in Kanazawa, Japan; and the Voorlinden Museum, Netherlands, amongst others.
- Rokkaku’s most recent exhibitions include the current running solo presentation, Ayako Rokkaku: Holding an Island, at CCA Andratx, Mallorca from July to October 2024, and an institutional show with Long Museum West Bund, Close to Your Treasure, which ran from May to August 2023. Rokkaku currently lives and works in multiple cities, travelling between Porto, Berlin, Tokyo, and Amsterdam. She is represented by Gallery Delaive, Amsterdam.
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- Description
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- Provenance
  Gallery Delaive, Amsterdam
  Acquired from the above by the present owner
- Exhibited
  Kunsthal Rotterdam, Colours in My Hand by Ayako Rokkaku, 25 June - 20 August 2011, p. 75 (illustrated)