Kanji Remix
— Pop Calligraphy Art by Fuh‑mi —

Old kanji, new attitude. In Kanji Remix, Fuh‑mi explodes classical brushwork onto denim, acrylic, or can badges. Each piece is a one‑take performance where sumi ink collides with modern boundary‑pushing materials—calligraphy re‑engineered for club lights, streetwear drops, and white‑cube spaces.

From Tokyo to the world. Fuh‑mi’s pop calligraphy travels the art circuit. Collectors range from street‑wear pioneers to blue‑chip gallerists—anyone chasing that unmistakable jolt of kanji energy.

2000 USD

Eat the Evil!

Medium: Acrylic on canvas
Size: 109 x 89 cm
Year: 2021

This playful yet thought-provoking artwork reimagines the iconic Pac-Man and his friends as unlikely heroes in a battle against “calamity” (蝕). In this piece, the familiar yellow characters, their eyes bigger than their stomachs, turn their attention to the kanji for “calamity,” as if to devour it entirely. The kanji, rendered with bold, expressive brushstrokes, seems to leap off the canvas, embodying fear and motion as it attempts to flee its pursuers. The scene humorously subverts the usual Pac-Man narrative, where he chases ghosts, by turning the characters into symbolic figures that consume misfortune instead. The dynamic composition merges pop culture with traditional Japanese calligraphy in a strikingly original way. The ink strokes of the kanji, full of energy and tension, contrast sharply with the flat, bright shapes of the Pac-Man figures, creating a visual balance between chaos and simplicity. Splashes of ink scattered across the canvas amplify the sense of movement and urgency, as though the “calamity” is being dismantled under the relentless pursuit of its cheerful adversaries. At the heart of this work lies a fusion of tradition and modernity. While the kanji carries deep cultural and symbolic weight, the Pac-Man figures lend a playful and accessible touch, bridging the gap between the historical and the contemporary. The vibrant composition invites viewers to reflect on the universal theme of overcoming challenges—here represented by a lighthearted yet deeply symbolic clash between the forces of good and misfortune. The artwork is accompanied by a short poem that encapsulates its hopeful message:“A prayer for the world,Pac-Men eat the evil up,For a better new future.” Through this fusion of nostalgic pop culture and the profound depth of Japanese calligraphy, the piece transcends cultural boundaries and delivers a message of collective resilience and optimism. By imagining a world where even the simplest characters can rise to confront and overcome adversity, the work inspires viewers to embrace courage and unity in the face of challenges.

2000 USD

Cowabunga!

Medium: Acrylic, ink, textiles Posca on canvas
Size: 109 x 89 cm
Year: 2021

In this vibrant artwork, I wanted to experiment with a freer and more playful approach, blending elements of Pop Art with traditional Japanese calligraphy. This marked the beginning of my “Twisted Cat” series, where I bring together the world of calligraphy and the mascot character I’ve created—a whimsical red cat full of energy and attitude. The focal point of this piece is the surfing cat, confidently riding a wave with a surfboard that bears the calligraphy “Cowabunga”, a famous phrase from surfing culture that embodies excitement and freedom. Writing this calligraphy was both a technical and creative challenge. Smaller-scale calligraphy like this requires a heightened level of precision and mindfulness, as the limited space demands careful control of the brush and a keen awareness of composition. The background wave, while playful and stylized, is deeply rooted in Japanese tradition, drawing inspiration from a famous samurai family crest (kamon). By incorporating this historical motif, the piece achieves a harmonious balance between the modern Pop Art aesthetic and the timeless elegance of Japanese art. The denim framing further emphasizes the contemporary and unconventional nature of this work, enhancing its appeal as both a cultural dialogue and a bold artistic statement. This series is about pushing boundaries—combining bold colors, playful imagery, and traditional craftsmanship to create something truly unique. The surfing cat is not just a mascot; it’s a symbol of freedom, fun, and a modern twist on Japanese artistic heritage. Through this juxtaposition of tradition and pop culture, I aim to spark joy and provoke thought, inviting viewers to explore the unexpected harmony between these contrasting elements.

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L’essentiel est invisible pour les yeux

Medium: Ink, button badge, denim
Size: 53 x 45.5 x 2 cm

This work is inspired by the famous line from The Little Prince by Antoine de Saint-Exupéry:
“On ne voit bien qu’avec le cœur. L’essentiel est invisible pour les yeux.”
(“It is only with the heart that one can see rightly. What is essential is invisible to the eye.”)

Each character in this piece is handwritten in Japanese calligraphy and placed on a button badge, one by one. Together, they spell out the Japanese translation of this iconic phrase. The use of denim fabric as the base material adds a modern, everyday texture that contrasts gently with the timeless quality of the words and the art of calligraphy.

Although the words may be unreadable to many viewers, I believe that beauty and meaning can still be felt beyond language. The message of The Little Prince—that what truly matters cannot be seen—resonates perfectly with this concept.

This piece invites the viewer to “see with the heart”—to find beauty not in what is easily understood, but in what is quietly felt.

2000 USD

Je suis méchant

Medium: Acrylic, ink, Posca on canvas
Size: 109 x 89 cm
Year: 2021

In recent years, the art world has seen a growing emphasis on "fusion" across various genres and eras. Especially at the intersection where "Pop" and "Classical," two seemingly diametrically opposed realms, meet, innovative and original expressions are born.

Pop Art is an art movement that emerged in the 1950s in Britain and America, taking everyday mass culture as its subject. On the other hand, the classical refers to works and ideas that have stood the test of time and are deemed worthy of being passed down to future generations. By combining these two, we can build a bridge between the past and present, “elite” culture and mass culture.

The fusion of Pop and Classical is not merely about putting different elements together; it's about creating new value while respecting the characteristics of each. This is possible not only in art but also across fields such as design, fashion, and music. For instance, performing "Smoke on the Water" with traditional Japanese instruments and singers or artwork featuring surfing on Hokusai's great wave, creativity that transcends existing frameworks is sought after.

Such approaches promote diversity and inclusivity, bringing together people from different backgrounds. Through dialogues that transcend cultures and eras, new perspectives and interpretations emerge, expanding the possibilities of art.

Now, I would like to introduce an example of how I have explored this theme. It is a piece that combines a pop culture icon, a sketch of Darth Vader, with an excerpt from the classical Buddhist text "Tannishō." (13th century)

Through this piece, I have connected two different worlds. On one side, there is the compelling strength of pop culture that captivates audiences worldwide, and on the other, the depth of classical literature that resonates through time. The image of Darth Vader symbolizes the conflicts and dynamism we often experience in ourselves: No one is always pure evil (except Palpatine?), there is always some good inside; and vice-versa. Meanwhile, the excerpt from "Tannishō" presents profound teachings that go beyond the duality of good and evil, self-power and other-power.

I had fun with this artwork. On the left, it looks like hiragana style of calligraphy, but in fact it is French : "Je suis méchant" (I am a bad boy). The calligraphy on the right side reads "Sei-ja" which is in Japanese a dynamic relationship between good and bad, which characterizes Vader / Anakin in the series. Behind "Je suis méchant" in small characters, is the excerpt from Tannishō. This is long so I will put the translation in the comments section.

With this artwork, I wanted to explore how different times, cultures, and philosophies converse and influence each other. At the crossroads where Pop and Classical, modern and past, West and East intersect, moments arise where new meanings and understandings are born. That is the message I wanted to convey through this work.

Here’s the English translation of Tannisho.

Even a good person attains birth in the Pure Land, so it goes without saying that an evil person will. Though it is so, people commonly say, “Even an evil person attains birth, so it goes without saying that a good person will.” This statement may seem well-founded at first, but it runs counter to the intent of the Primal Vow, which is Other Power. This is because people who rely on doing good through their self-power fail to entrust themselves wholeheartedly to Other Power and therefore are not in accord with Amida’s Primal Vow, but when they overturn the mind of self-power and entrust themselves to Other Power, they will attain birth in the true and real fulfilled land. It is impossible for us, who are possessed by blind passions, to free ourselves from birth-and-death through any practice whatever. Sorrowing at this, Amida made the Vow, the essential intent of which is the evil person’s attainment of Buddhahood. Hence, evil persons who entrust themselves to Other Power are precisely the ones who possess the true cause of birth. Accordingly he said, “Even the good person is born in the Pure Land, so without question is the person who is evil.”

It appears that disputes have arisen among followers of the sole practice of nembutsu, who argue that “these are my disciples” or “those are someone else’s disciples.” This is utterly senseless. For myself, I do not have even a single disciple. For if I brought people to say the nembutsu through my own efforts, then they might be my disciples. But it is indeed preposterous to call persons “my disciples” when they say the nembutsu having received the working of Amida. We come together when conditions bring us to meet and part when conditions separate us. In spite of this, some assert that those who say the nembutsu having turned from one teacher to follow another cannot attain birth. This is absurd. Are they saying that they will take back the shinjin given by Amida as if it belonged to them? Such a claim should never be made. If one comes to be in accord with the spontaneous working of the Vow (jinen), one will awaken to the benevolence of the Buddha and of one’s teacher.