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Ebihara Yasushi



Born in 1976 in Ibaraki, Japan. Currently residing in Toride City. Uses movies as a motif for most of his works. Has exhibited many art series. For example, the 'LUST' series, which focused on hair, the 'DRESS' series, which focused on the dresses worn by actresses, and many others.
WHO 001

I usually use movies as my motif. For example, I rebuild a set I saw in a movie or I paint a house shown in a movie using oil paint. Movies that disappear the second they appear on the screen also gradually fade away from our memory as time passes by.
I create art using the small details I see in a movie that are used and then, gradually vanish.
Even a person can be exploited. It is especially evident in Hollywood movies, in which a lot of the movies are created just to be exploited in the commercialized market. For example, a child actor that had a remarkable career but never made it big when he/she grew up. It is a tragic because not only these child superstars were exploited in the market but they must have experienced a rough time later on in their life. To top it off, we do not even know if they really wanted to be in that industry to begin with. One good example of an exploited child actor is Maculay Culkin. He was a big star back in the 90s. For me, he is absolutely a great motif. You can express this child actor through so many different ways, solid dimensions, paintings, photos, and bring him back in the world of art.

W : These are all the Culkins?

Ebihara : This is me wearing a Culkin mask, with a special make-up on. The mask itself resembles Culkin, but once I wore it, it ended up looking like someone who is totally different from him. It does not matter whether I look like him or not, but the important thing is the idea that there is more than one Culkin.

W : So it was all you Ebihara-san. How did you feel about being a Culkin?

Ebihara : Very excited. But kind of shocked to find out that even with a mask on, I can't look like Culkin. I looked in the mirror and I saw a very muscular face.

W : The title of this work is “Ghost Culkin,” what does it mean?

Ebihara : It came from the idea that Culkin kept his existence on the screen like a ghost. After 1994, Macaulay Culkin had disappeared from the big screen, but the exact same image kept emerging back for about a decade. This was through his younger brothers, Kieran, Quinn, Christian, and Rory.

W : I did not know he had so many brothers.

Ebihara : Yes, and they all looked just like Macaulay. And after Macaulay had disappeared, his brothers in turn, started to wander on the screen like a ghost of Macaulay and kept giving the audience this 'everlasting boy' image of Macaulay. And two years ago, his youngest brother Rory, also started to appear on screen.

W : So after Rory, there will be no more Culkin?

Ebihara : Maybe someday their children will be on the screen. But yes for a while, we will not see more of Culkin. Rory is the very last Culkin face that you will see on the screen. But now, Macaulay made a come back after being gone for 8 years. He showed us a grown-up look.

W : In “Ghost Culkin,” you were a member of the Culkin brothers?

Ebihara: No, it was more of like expressing all members of the Culkin brothers, and not becoming one of them. For me this work has this kind of “paying homage” aspect to the Culkin brothers.


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Shuji Sugihara
1976, Born in Kanagawa Japan.
WHO chief editor/art director