We acknowledge the Gadigal of the Eora Nation, the traditional custodians of the Country on which the Art Gallery of NSW stands.


Vol. 1 - Prosperity in spring at 'Dream Land'



Keiko Satō


1960 –

No image
  • Details

    Alternative title
    OYKOT Meisho e-tsukushi: sono-ichi - Yumeno-shima haru no nigiwai
    Place where the work was made
    Heisei period 1989 - → Japan
    Media category
    Materials used
    etching and aquatint
    44.0 x 102.0 cm image; 58.0 x 109.0 cm sheet
    Signature & date

    Signed l.r., pencil "Keiko Sâteau". Not dated.

    Gift of the artist 1993
    Not on display
    Accession number
    Artist information
    Keiko Satō

    Works in the collection


  • About

    Obviously influenced by the surreal, the comic, the contradictory and the nonsensical, as well as by European modernist and fairy-tale graphic traditions, Sato creates meticulously detailed fantasy realms. Born in Gunma Prefecture and educated at Musashino Art University, Sato now resides in Tokyo which is the inspiration for her images. She wants to express the contemporary Tokyo she lives in - the 'Dream Land' is an island made of garbage thrown out by Tokyo citizens.

    She has modelled her format on the polychrome triptychs of the traditional 'ukiyo-e' school of the late Edo-early Meiji periods (eighteenth-nineteenth centuries). Sato is translating into modern relevance the topical journalistic narrative of such triptychs as well as their playfulness and wit. Even her title mimics the jokiness and allusiveness of contemporary 'ukiyo-e' prints which in their turn used Japan's classical past as a vehicle for their humour.

    The architecture of Oykot is as fantastic as some of the escapist architecture of coffee shops and pubs around Tokyo. Recalling Western artists as diverse as Escher, Goya and Brueghel, the images are a divertingly eclectic mix: a people-eating machine, a dragon wearing a walkman, fairy-tale individuals busy with their business as the sun sets on the empire. This is a sardonic assessment of urban life in Japan.

    Jackie Menzies, Contemporary Japanese Prints: The Urban Bonsai, 1992, pg. 88.

  • Places

    Where the work was made


  • Exhibition history

    Shown in 1 exhibition

    • The Urban Bonsai, Queensland Art Gallery, South Brisbane, 04 Mar 1992–04 May 1992

      The Urban Bonsai, National Art Gallery, Wellington, Wellington, 20 Jun 1992–09 Aug 1992

      The Urban Bonsai, Christchurch Art Gallery, Christchurch, 12 Sep 1992–29 Oct 1992

      The Urban Bonsai, Manawatu Art Gallery, New Zealand, 13 Nov 1992–10 Jan 1993

      The Urban Bonsai, The George Adams Gallery, Victorian Arts Centre, Melbourne, 18 Mar 1993–25 Apr 1993

      The Urban Bonsai, Art Gallery of New South Wales, Sydney, 08 May 1993–01 Aug 1993

      The Urban Bonsai, Penrith Regional Gallery & The Lewers Bequest, Emu Plains, 11 Mar 1994–24 Apr 1994

      The Urban Bonsai, Drill Hall Gallery, Australian National University, Canberra, 19 May 1994–19 Jun 1994

      The Urban Bonsai, Campbelltown Arts Centre, Campbelltown, 15 Jul 1994–21 Aug 1994

      The Urban Bonsai, Bank Art Museum Moree, Moree, 11 Nov 1994–24 Dec 1994

      The Urban Bonsai, Tweed Regional Gallery & Margaret Olley Art Centre, Murwillumbah, 01 Feb 1995–05 Mar 1995

  • Bibliography

    Referenced in 1 publication