Miho Sato grew up in Japan during the birth of media and the dissemination of popular culture. This environment was a fundamental influence on Sato and she collects and
works with images derived from internet, television and printed matter.
"Cartoon images, magazine images, Moomin, American Gigolo, Richard Gere looking at himself in a mirror, David Bowie and androgyny. Nothing to dowith them, just an image, something that is attractive and odd. Ciphersfor my imagination, emblems of fascination. As a child, I had a calendarwith Gainsborough and Reynolds and their use of children or animals,children with faces like dolls; even the animals seemed doll-like to me".
When these randomly collected images resonate with her childhood memory, characters are renewed with ambiguity, as if they are disconnected from social meaning.
They become intriguing: odd yet attractive. As Sato describes, " In a way many of these sources involve a form of mis-recognition but it is this off-centered reading that triggers a painting in me. "
"Her painting style has been very much self-controlled. She usually draws a singular object punctuating an essentially void, grey background. Sato uses DIY brushes and paints with a strictly casual manner, avoiding random drawing lines and rich texture. Her paintings appear to have been completed in one go or act. The paint itself is very thin and doesn‚Äôt appear to have been absorbed by the ground; not quite sitting on the surface. Some little blobs of paint where the artist‚Äôs brush has leaned over accidentally, are somehow an important matter, giving us a clue to her mood. But her choice of subject matter has never been ambivalent.
The western painting carries God, subjects and belief. But Sato has an anti- attitude towards this traditional style. She rejects meanings. Her objects float without entity. It's like coming back and crossing over Sanzu River / River Styx. Each river bank could be the western or eastern world; childhood or adulthood; nihilistic or humorous and conscious or unconscious. Sato's painting speaks towards a universal anxiety of the collective unconscious.