{
  "@context": "https://schema.org",
  "@graph": [
    {
      "@id": "https://aaploit.com/en/artists/sato-raimu",
      "@type": "Person",
      "name": "SATO Raimu",
      "alternateName": "さとうらいむ",
      "url": "https://aaploit.com/en/artists/sato-raimu",
      "sameAs": "https://aaploit.com/ja/artists/sato-raimu",
      "image": "https://images.ctfassets.net/p8pamrwuis9r/1kYj3KQXNaLksbKDMPw3X0/2fe2a074f6544372908727d6b98dd028/sato-raimu-portrait.webp",
      "affiliation": {
        "@id": "https://aaploit.com/#organization"
      },
      "birthDate": "2000",
      "description": "Sato Raimu",
      "disambiguatingDescription": "Sato Raimu engages the human body through the making of dolls. This practice does not originate from metaphor or symbolic representation, but from a sustained inquiry into how a body is constructed, articulated, and maintained. Ball-jointed doll–making was independently acquired as a foundational method, later extended through formal training in figurative sculpture and anatomical research conducted within medical school laboratories. Alongside a number of earlier works produced at a smaller, conventional doll scale, this inquiry culminates in a single life-sized figure, in which the body emerges not as an image to be idealized, but as a structure defined by articulation, exposure, and fragility.\n\nThis life-sized work is unequivocally a doll. Spherical joints remain exposed, and the logic of articulation is never concealed. Illusion and lifelikeness are deliberately withheld. What is presented instead is a body whose construction is fully legible assembled, connected, and sustained through visible points of vulnerability.\n\nThe figure adheres precisely to human life-size proportions, without intentional distortion or exaggeration. The difference perceived here arises not from deviation from an ideal, but from the exposure of structure itself. Continuity is interrupted by joints, and articulation remains unresolved, insisting on the body as something assembled rather than inherently whole.\n\nFragility is understood as a layered condition. One dimension is physical: the susceptibility of joints and connective structures that enable movement while remaining points of weakness. Another is ontological: the instability of the subject that emerges from inhabiting a material body positioned in relation to others and to society. The structure of the ball-jointed doll brings these dimensions into direct contact.\n\nThe figure is not posed. It stands upright and motionless. Pose is understood as narrative, and narrative is intentionally withheld. This work does not function as a character or a representation of an individual, but operates closer to an anatomical presentation a body articulated and fixed in place.\n\nRather than substituting for the human body or operating as a symbolic stand-in, this life-sized work exists as an “other”: exposed, motionless, and unresolved. Through structural clarity rather than illusion, it continues to question what it means for a body to be assembled, to appear, and to remain standing before us.\n\nMaking Process\n\nThe life-sized figure was developed through a sequential process focused on structural clarity and articulation. The body was first designed and measured to precise human life-size proportions, based on direct anatomical reference. At this stage, internal balance and joint placement were carefully determined to ensure both stability and legibility of articulation.\n\nThe figure was constructed using stone powder clay as a structural material. Once cured, the surface became rigid and non-absorbent, forming a stable substrate. This material choice allows the structure of the body to remain fixed and exposed, rather than softened through surface treatment.\n\nAfter curing, the surface was painted with oil paint. Color was applied not to simulate flesh or vitality, but to register the body at a specific moment of completion. The painted surface functions as a trace of presence rather than an illusionistic layer.\n\nHuman hair was processed into banded components and fixed to the head, following established doll-making traditions. No painterly intervention or rendering was applied; instead, attachment and insertion are emphasized as integral parts of the body’s construction.\n\nSpherical joints remain visible and functional throughout the work. Articulation is never concealed, and no attempt is made to integrate joints seamlessly into the body.\n\nThe completed figure was assembled, balanced, and fixed in an upright, standing position. No pose was assigned. The process concludes with the body remaining assembled, articulated, and present.",
      "cv": [
        {
          "section": "Education"
        },
        {
          "year": "2023",
          "entries": [
            "BFA, Sculpture, Tokyo Zokei University"
          ]
        },
        {
          "year": "2025",
          "entries": [
            "MFA, Fine Arts, Tokyo Zokei University"
          ]
        },
        {
          "section": "Solo Exhibitions"
        },
        {
          "year": "2025",
          "entries": [
            "Still Life with Innocence, aaploit, Tokyo"
          ]
        },
        {
          "section": "Group Exhibitions (Selected)"
        },
        {
          "year": "2024",
          "entries": [
            "Anatomical Room, Gallery Le Vant, Tokyo",
            "Ma Awai: Three-Person Creative Doll Exhibition, Kichijoji Gallery, Tokyo"
          ]
        },
        {
          "year": "2023",
          "entries": [
            "In View, Gallery Icho no Ki, Tokyo",
            "Haikara: Modern Boy & Modern Girl Exhibition, Fujino Art Museum, Hyogo",
            "Things Born and Fade Away, gallery hydrangea, Tokyo"
          ]
        },
        {
          "year": "2022",
          "entries": [
            "Dreams That Goldfish See 2022, Colmekissa, Kanagawa",
            "Fantasizing, Colmekissa, Kanagawa"
          ]
        },
        {
          "year": "2021",
          "entries": [
            "For You, …and for Me, Colmekissa, Kanagawa",
            "Dreams That Goldfish See, Colmekissa, Kanagawa",
            "My Sanctuary in My Room, Colmekissa, Kanagawa"
          ]
        },
        {
          "year": "2020",
          "entries": [
            "Dreaming Girls, Mi Amore Gallery, Tokyo"
          ]
        },
        {
          "section": "Awards"
        },
        {
          "year": "2025",
          "entries": [
            "Tokyo No.1 Doll — Grand Prize"
          ]
        },
        {
          "section": "Art Fairs"
        },
        {
          "year": "2025",
          "entries": [
            "Incheon Art Show 2025, Incheon, South Korea (aaploit)"
          ]
        }
      ],
      "biography": [
        {
          "year": "",
          "entries": [
            "Sato Raimu works between anatomical doll-making and the tradition of creative dolls, using the figure as a sculptural site for questioning embodiment and perception. In works conceived as dolls, proportions are deliberately altered — approximately six-head figures with emphasized heads — while anatomically accurate, life-sized figures precisely replicate the artist's own nine-head proportions. This oscillation between distortion and exact replication produces a dissonance that the human body alone cannot generate. From 2023, Sato has been affiliated with the Department of Anatomy at Juntendo University School of Medicine as a Special Research Student, and participates in Anatomy Tutorials, a collective dedicated to the education and dissemination of artistic anatomy. Born in 2000 in Shizuoka, Japan."
          ]
        }
      ],
      "relatedLink": "https://aaploit.com/en/artists/sato-raimu/works"
    },
    {
      "@id": "https://aaploit.com/en/exhibitions/sato-raimu-still-life-with-innocence",
      "@type": "ExhibitionEvent",
      "name": "still life with innocence",
      "url": "https://aaploit.com/en/exhibitions/sato-raimu-still-life-with-innocence",
      "sameAs": "https://aaploit.com/ja/exhibitions/sato-raimu-still-life-with-innocence",
      "startDate": "2025-04-11",
      "endDate": "2025-04-27",
      "location": "aaploit, Tokyo",
      "artists": [
        {
          "@id": "https://aaploit.com/en/artists/sato-raimu"
        }
      ]
    },
    {
      "@id": "https://aaploit.com/en/journal/sato-raimu-review-01",
      "@type": "Article",
      "headline": "“Moonwhite Castle” by SATO Raimu",
      "url": "https://aaploit.com/en/journal/sato-raimu-review-01",
      "description": "Moonwhite Castle (2023) by SATO Raimu is a ball-jointed sculpture with two heads on a single nude body, installed directly on the floor to disrupt conventional display. Constructed from stone powder …",
      "about": [
        {
          "@id": "https://aaploit.com/en/artists/sato-raimu"
        }
      ]
    },
    {
      "@id": "https://aaploit.com/en/journal/feature-bisyoujo",
      "@type": "Article",
      "headline": "The Art History of Beautiful Girls: From Traditional Bijin-ga to Digital Culture",
      "url": "https://aaploit.com/en/journal/feature-bisyoujo",
      "description": "The Art History of Beautiful Girls begins by rejecting the traditional category of bijin-ga in favor of bishōjo, reframing the figure of the beautiful girl as a media construct rather than a fixed ar…",
      "about": [
        {
          "@id": "https://aaploit.com/en/artists/sato-raimu"
        }
      ]
    },
    {
      "@id": "https://aaploit.com/ja/texts/sato-raimu-text-01",
      "@type": "Article",
      "headline": "佐藤来夢、揺らぎを顕す",
      "url": "https://aaploit.com/ja/texts/sato-raimu-text-01",
      "description": "佐藤来夢の作品は、球体関節人形と彫刻という二つの系譜が交差する地点に立っている。解剖学研究室での学習を経た身体表象と、関節部に露出した球体による身体の分節——この二つが造形のレベルで練り込まれる。卒業制作《月白の城》は床に直接置かれた一体二頭の座像で、二つの頭部のうち一つは目を開いて床を見つめる。鑑賞者は姿勢を低くしてその視線と交わる必要がある。舟越桂は生前この作品を直接見て評価した。修士修了制…",
      "about": [
        {
          "@id": "https://aaploit.com/en/artists/sato-raimu"
        }
      ]
    }
  ]
}