In April 2025, Mr. Fukuda's solo exhibition is being held at gallery Hakuden, a renowned gallery in Tanba Sasayama.

Taking Kumano, the place of Mr. Fukuda's roots, as the subject, his works are experimental and improvisational in melody, covering traces of mythological gods and places where the beliefs of ancient people still live.
As she says of the purpose of her solo exhibition, “Life and death are not in conflict with each other, but rather, I foresee the dynamism of fluid energy that does not stay in a certain place, where death is contained within life and life is contained within death. The space is filled with objects that transcend time and space, and colorful small works that seem to come from within, and is more like a silent statement than the intensity of a goma-burning ceremony.


The venue is divided into two parts.
The new gallery, with a ceramic floor by owner Naoto Ishii and chestnut stakes driven into the rice paddies as floor posts, has a motif reminiscent of “fire,” as in the case of ceramics that are born from the denaturation of clay.
In contrast, the white gallery space designed by Sumiko Ishii, the owner of the gallery, is lined with works painted in pale colors, as if they were dreams seen in a womb, like gods born even from the corpse of Iyanami.

One work was unusually titled “Still life” in Fukuda's naming style, in which the same title is given only the date of creation.
This work, which was also used for the DM of his solo exhibition, is said to be the manifestation of something latent and sensual within Mr. Fukuda.
The origin of the title was that the delicate layering of colors, like a watercolor painting, looks like a biological painting, but to me it looked like a tama-yura, a tama-yura from the ancient ritual of death and rebirth called “tama-furi.


Fukuda's work has varied greatly in style from collage to sculpture, from figurative painting to abstraction, as his intellectual interests dictate. As he says, “I always want to change,” one of the areas that has blossomed in the process of creating his solo exhibitions is color.
Just as Redon's black awakened his interest in color, the colors painted on the canvas, which had been created by restricting colors to monotones and earth tones, were like flowers unfurling, neither overpowering nor excluding the viewer, but simply embracing the viewer like a timeworn antique, “existing together. They are like time-honored antiques that simply “belong together” with the viewer.

Mr. Fukuda says that his ideal production is not something that can be switched on and off, like pickling pickles or hanging laundry out to dry, but something that is connected to daily life.
As a “thinker,” Mr. Fukuda's works, which he says “come from the heart without being conceptual,” do not try to be eccentric or take advantage of others, but rather gently exude his inner world.
For an artist to compete with his or her true self is something that requires a great deal of courage, like being completely naked in front of others, I guess. I felt that Fukuda's transformation in this solo exhibition, which he accomplished without hesitation, was the result of the maturation of his human ability, which was formed during the time he spent with his family after moving to Tamba.

In the tranquility of the evening, which Mr. Fukuda says is the time he devotes to his work, his vision gradually blurs and he enters a state of altered consciousness.
According to one theory, the manifest consciousness is only 3% of the subconscious.
The subconscious is connected to the everlasting world.
When we create something, we may be accessing the land of death and rebirth of Izanami.