heavy cartoon

Pop, psychedelic, toy, colorful, grotesque, nostalgic.
When I try to talk about Miyashita's work, various keywords come to mind.
It's adorable yet strange, fantastical yet realistic. He also incorporates historical relics and sublimates them into his own expression.

When I come into contact with Miyashita's work, I feel as if I suddenly recall a forgotten childhood memory.
Things that appeared in the incoherent dreams I had when I was a child. It's like being invited to a mysterious world.
The strange humanoid shape, although nonsensical, had a somewhat suggestive shape that had its origins in his own memories. Where do the dismantled and reconstructed forms come from?

The cartoon animations that Miyashita often watched as a child were not only cute, but also contained irony and violence.
The boy was sensitive to ``something'' stirring.
Humans are multifaceted. Isn't that what makes it human and interesting?

Miyashita also says that creating works leads to self-healing.
In today's society, where we are overflowing with information, we receive a lot of information every day, and while we are experiencing a variety of emotions such as worry, anger, and joy, there comes a moment when we exceed our capacity.
Like clay animation, his works seem to capture the repeated moments of Metalfoes, and seem to reflect his emotions at the time.

Works created using the material ceramic clay with an attitude that transcends the boundaries of various cultures and genres. It can be described as a ``cartoon with weight''.
Ever since he was a boy, Miyashita has sensed that something cannot be saved by just being cute, and his interest in the multifaceted nature of things can be said to be the source of his creativity.

B-OWND