I believe that art hiﬆory has a queer dimension―that Michelangeloand Caravaggio, recognized as Old Maﬆers of Weﬆern art, and some Greek and Roman sculptors further back in antiquity were homosexual (or bisexual).
As a fellow artiﬆ, I sense that there are certain forms and depictions throughout their works that can only be achieved with a homosexual per-spective. I refer to this perspective as “homosexual aeﬆhetics.”
When looking at Japanese art, I ﬁnd similar aeﬆhetics in the works of the Kamakura-period sculptor Unkei (and the Kei school). However, ho-mosexual aeﬆhetics are less apparent in Unkei’s compared to Michelange-lo’s. This is because Unkei produced his sculptures with many others at his workshop under his direction, unlike Michelangelo, who created his works solely by himself. And yet, I certainly sense a queer reality that Unkei has looked ﬆraight through, embedded deep inside his works.
The term “homosexual aeﬆhetics” here does not mean direct ex-pressions of homosexuality as seen in gay art. Hiﬆorically, art began with religious art, and within any religion, a male-centered society that excludes females was formed. The same goes for artiﬆs. Until modern times, only males were allowed to occupy that position. Moﬆ depictions of the ideal body produced in those male-centered, homosocial communities are male ﬁgures. Here is my queﬆion. Why have such homosexual aeﬆhetics been accepted in a society where the majority remained heterosexual?
Whether it is in marble, marquetry, or silicone sculpture, sculpting human ﬁgures in the ﬆyle of realism requires a considerable amount of physical ﬆress. Despite this, within ﬁgurative sculpture resides the impet-uous desire for beauty that drives one to choose such a taxing ﬆyle. In my opinion, the intensity of this desire is what sublimates homosexual aeﬆhetic into a universal aeﬆhetic.
My artmaking ﬆarts with simulating homosexual aeﬆhetics that stand out to me as an anomalous presence among the maﬆerpieces of the paﬆ. Through simulation, I experience the impulse of the maﬆers vicari-ously and of my own. Such homosexual aeﬆhetics hidden behind the hiﬆo-ry of art are ﬁltered through my senses and ampliﬁed in my sculptures. It is my challenge, through my artmaking, to add another layer of reality to art hiﬆory.