Toshio Saeki


Among all the artists adressing the liminal zones of obscenity and taboo, few have explored the Unheimliche in all its variations with Toshio Saeki’s precision.

Born in 1945 in Miyazaki prefecture, he moved to Osaka when he was 4 years old and then landed in Tokyo at 24, right when the sex industry was booming. After a few months in a publicity agency, Saeki decided to focus exclusively on adult illustration. His drawings were published on Heibon Punch and other magazines, and slowly gained international interest. Today, after 40 years of activity, Toshio Saeki is among the most praised japanese erotic artists, with solo exhibitions even outside Japan — in Paris, London, Tel Aviv, New York, San Francisco and Toronto.135




For Saeki, art — like fantasy — cannot and should not know any limit.
In spite of the sulfurous nature of his drawings, he had surprisingly little trouble with censorship: apart from some “warning” notified by the police to the magazines featuring his plates, Saeki never experienced true pressions because of his work. And this is understandable if we take into account the cultural context, because his work, although modern, is deeply rooted in tradition.
As the critic Erick Gilbert put it, “if you look at Saeki’s art outside of its cultural sphere, you may be troubled by its violence. But once you go inside that cultural sphere, you know that this violence is well-understood, that ‘it’s only lines on paper,’ to quote cartoonist Robert Crumb. This extreme imagery of Japanese artists, and their characteristic need to go as far as possible, can be traced several centuries back to the so-called bloody ukiyo-e of the 19th century“.

To fully understand Toshio Saeki, it’s essential to look back to the muzan-e, a bloody subgenre of prints (ukiyo) which appeared around the half of ‘800, drawn by masters such as Tsukioka Yoshitoshi. This latter created the Twenty-eight famous murders with verse, in which he depicted all sorts of atrocities and violent deaths, taken from the news or from the stories of Kabuki theater. Here are some examples of Yoshitoshi’s extreme production.





Other muzan-e, often particularly cruel, were drawn by Utagawa Yoshiiku, Kawanabe Kyōsai, and more marginally Hokusai; this current would then influence the more recent generation of artists and mangaka interested in developing the themes of ero guro – eroticism contaminated by surreal, bizarre, grotesque and crooked elements. Among the contemporary most prominent figures, Shintaro Kago and the great (and hyper-violent) Suehiro Maruo stand out.
So our Toshio Saeki is in good company, as he mixes the solid tradition of muzan-e with classical figures of japanese demons, bringing to the surface the erotic tension already hidden in ancient plates, making it both explicit and obsessive.



His work is a visionary maelstrom in which sex and torture are inseparable, where erotic pulsion is intertwined with frenzy and psychopatology. The manic intensity of his illustrations, however, is coupled with a formal and stylish elegance, which cools down and crystallizes the nightmare: his prints are not created on the spot, because this precise refinement points to a deep study of the image.
Often they are connected with nightmares I had as a child, or extreme fantasies of my youth. These images made an impression on me, and I exaggerate them until they become those works that seem to have such a stong impact on the viewer“, declared the artist. These visions are carefully considered by Saeki, before he puts them on paper. For this reason his work looks like some sort of cartography of the further limits of erotic fantasy, those fringes where desire ultimately transforms into cupio dissolvi and cupio dissolvere (the desire to be annihilated, and to annihilate).



But, for all their shocking power, Saeki’s paitings are always just dreams. “Leave other people to draw seemingly beautiful flowers that bloom within a nice, pleasant-looking scenery. I try instead to capture the vivid flowers that sometimes hide and sometimes grow within a shameless, immoral and horrifying dream. […] Let’s not forget that the images I draw are fictional“.

And, again: “The important thing, to me, is awakening the viewer’s sensitiviy. I don’t care if he is a bigot or not. I want to give him the sensation that in his life — basically a secure and ordinary existence — there might be “something wrong”. Then hopefully the observer could discover a part of himself he did not know was there”.


Quotes appearing in this post are taken from: here, here and here.
For a deeper treatise on muzan-e, here’s an article (in Italian) on the wonderful website Kainowska.

10 comments to Toshio Saeki

  1. Livio says:

    Da disegnatore, non posso che dire: DIVINO!

  2. Zero says:

    Stavo giusto pensando “mi ricorda Suehiro Maruo” ed ecco che me lo citate voi. Ha!
    Mi piacciono un sacco gli autori ero-guro (anche se forse è meglio non farlo sapere in giro).

  3. Max says:

    Buongiorno, ho scoperto il suo sito da poco, e devo dire, che ne apprezzo veramente i contenuti. Interessante questo articolo, poiché anch’io ho interesse a conoscere l’arte contemporanea giapponese, ma non conoscevo questo illustratore.

  4. gery says:

    Amo questo sito, ci trovo sempre argomenti interessanti di cui non sapevo. Non conoscevo questo illustratore e le sue tematiche, però conoscevo un filone cinematografico nipponico che tratta di questi argomenti. Spiegato quindi come siano nati film del calibro d Tetsuo, o corti come guinea pig, fiori di carne…

  5. andrea c says:

    Sarebbe anche interessante approfondire, comprendere i significati che una certa iconografia e simbologia riveste nella cultura giapponese. Certo, qualcosa si può intuire, il legame eros-thanatos è ben radicato anche nella cultura europea(non a caso l’orgasmo viene anche chiamato piccola morte).Sesso e cannibalismo sono presenti anche nelle tradizioni occidentali(vedi vampiri), anche se forse in misura minore rispetto alla cultura giapponese(ricordo il caso di Issei Sagawa, famoso cannibale giapponese, che in patria non è mai stato condannato o emarginato socialmente, ma anzi è diventato una sorta di star, e non ha avuto problemi a trovare donne disposte a relazionarsi con lui…segno che forse in Giappone c’è un atteggiamento molto diverso per questo genere di cose).
    Ma a parte i riferimenti atavici, che affondano le loro radici nella natura più profonda e istintiva dell’uomo, e sono comuni a quasi tutte le culture umane, sicuramente ci sono molti dettagli che sfuggono a chi non conosce la cultura giapponese. Mi piacerebbe poterli approfondire!

  6. Manu says:

    Non mi piacciono, la violenza mi dà repulsione a prescindere…

  7. giorgio grasselli says:

    ciò che è fuori è anche dentro di noi, nulla di quello che fanno gli altri esseri umani ci è estraneo, provare repulsione è restare a guardare invece di vedere.

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