This interview series features conversations between artists and Meiji Hijikata, Director of the Taro Okamoto Museum of Art in Kawasaki, offering a closer look at their creative worlds.

In this edition, Hijikata speaks with Kento Senga, best known as a member of Kis-My-Ft2, who has been gaining recognition in recent years for his work as a visual artist.

In this second part, we delve into his unique worldview called "FiNGAiSM." Through characters based on fingers, he aims to create memories that remain in people's hearts.

View Part One

Creating memories and emotions through FiNGAiSM

Senga Talks About FiNGAiSM

Hijikata: Your work centers around finger motifs. Could you explain this in more detail?

Senga: The characters in my figures and artwork have finger-like faces because I want to incorporate the meaning of a "signature." I focus on creating expressions and faces that remain in memory the moment you see them. In my "FiNGAiSM" world, there are characters named "MILO" and "AIMEE." Each has their own personality—MILO is somewhat reserved, quiet, and has trouble expressing his feelings honestly. I've projected some of my own hidden aspects into him.

MILO's body shape is also based on my grandmother. She was quite large but very charming and adorable. Through his slightly plump stomach and hunched posture, I express gentleness and lovability that viewers can relate to.

Through my work in the entertainment industry, I've learned the importance of being loved by people and having an approachable quality. So, as an expression of cuteness, I've incorporated my grandmother's image into MILO.

Creating a Finger Sign

Hijikata: What is the most important thing you want to convey through the "FiNGAiSM" worldview?

Senga: I create my works around the theme of memory. What may appear negative to others can sometimes be seen as individuality or even something endearing. But I think that depends on the viewer's perspective. You can only find something endearing when you accept that person. That's why I hope to share such kindness and affection through my art.

Also, fingers are "something you can't forget at home," right? So even if someone forgets the name, when they wonder "what was that character again?" I'd be happy if they remember, "Oh, that's MILO from FiNGAiSM."

I hope these characters can create smiles between people, bring peace, generate love, and ultimately create connected memories that become very happy ones for people.

Hijikata Gazes at the FiNGAiSM Characters

Hijikata: This character was born a few years ago, right? Will the "FiNGAiSM" worldview continue to expand?

Senga: Yes. Beyond just MILO, there are three other male characters, and in March's exhibition, I introduced a female character named "AIMEE" for the first time. As new characters emerge, new stories develop.

My solo exhibition in Korea, "Essence of Love," has love at first sight as its theme. I wanted to introduce a female character to show MILO falling in love, breaking down and vividly expressing the emotions felt in that moment. It will be an expanded version of the exhibition I held in Japan in March.

Love at first sight has positive aspects that brighten your world, but when you realize it, you also feel anxiety and fear, wondering what the other person thinks of you—negative emotions arise simultaneously, creating chaos.

But it's precisely when these yin and yang energies are in chaos that people forget themselves and feel alive. That's the energy of love, representing a state that exceeds your original energy, which is what I've tried to express.

Creative vision for global reach and expressions that resonate locally

A Serious Gaze Toward the Future

Hijikata: You have upcoming exhibitions at Whitestone Gallery Seoul and Saatchi Gallery in London. Could you tell us about your international expansion?

Senga: Yes. I've been aiming for international expansion from the beginning, which is why I only paint on large canvases, like size 100 or 120. These aren't sizes that fit in Japanese homes; I consciously create for a global audience. Being able to work with Whitestone and exhibit at prestigious venues like Saatchi Gallery is really about luck and fortunate connections. I feel truly blessed.

That's exactly why I want to create memorable impressions through my art for as many people as possible. Among pop artists in contemporary art, I aspire to become the most recognized artist in the world.

Hijikata: For your overseas exhibitions, will you also curate the entire space, not just display paintings?

Senga: Exactly. I'm thinking of changing themes and content depending on the timing and location, consciously considering what kind of exhibition would best reach the people of each country and city, with marketing in mind.

If I gain new inspiration from a location, I'd like to completely change the theme or shift from emotional pieces to more entertainment-focused works, creating exhibitions that continually transform.

Being both an idol and an artist

A Scene from the Conversation

Hijikata: Balancing art with your other activities must leave you with no time to spare, doesn't it?

Senga: When I started this activity, I actually realized, "I have so much time." Before, I was working hard for about 10 hours and resting for the other 14 hours. For me, art is what I do with those 14 hours.

Hijikata: When you focus on art, you also emphasize entertainment, and vice versa. This must really help you develop your creative side and expand your repertoire.

Senga: Yes. But interestingly, the ways of expressing output are completely different, so how I engage with my mind becomes very important. Variety shows are places to express yourself through speaking, and live performances through singing and dancing. These are similar, but when expressing through art, there's no speaking or singing—I need to materialize my heart. It's disconnected from verbal communication, so I've discovered that when I suddenly return to entertainment activities, I sometimes become shy around people.

That's also a good discovery, and I face these challenges while continuing to learn a lot from entertainment. I think there are very few people in this world pursuing contemporary art while being an idol, so I want to keep going as far as I can.

MILO and AIMEE Standing Quietly Behind the Conversation

Hijikata: I really hope you continue expanding internationally. Art is basically a global language, and unlike words, when expression is strong, what it conveys becomes very powerful. As you repeat this process, in your case, your accumulated experiences from other fields are substantial and will become very convincing.

Senga: When doing both art and entertainment, what grows most is the ability to verbalize my mental state. This grows the most, and I've recently felt strongly that this verbalization of my mental state and personal growth is tremendously reflected in my art.

Hijikata: You need to face your inner self. And growth means your paintings might continue to change going forward, right?

Senga: Yes, that's right.

Hijikata: I look forward to it. Thank you for today.

From Senga's words, we can see his pursuit of pure expression born from his own experiences and sensibilities, unconstrained by existing art frameworks or his public image as an idol. As Hijikata points out, the entertainment qualities cultivated in the entertainment industry and the introspection deepened through engaging with art influence each other, forming Kento Senga's unique creative worldview. This could be described as the emergence of a new type of artist that transcends genres.

Going forward, it will be fascinating to see how his "FiNGAiSM" develops both domestically and internationally, and what kinds of memories it will imprint on people's hearts.

Kento Senga: Essence of Love