There has been a surge of artists exploring gender identity and expression. Riding this zeitgeist is Japanese fine artist Takuto Kadokura, also known as 22nd Century Jedi, who just completed his (Hans) solo exhibition at hipster hideout, the Yidi Art gallery, tucked away in an industrial building in Hong Kong’s lively Fortress Hill district. Kadokura’s explosion of charismatic works blend masculine and feminine visuals, creating an intoxicating ambiguity that challenges us to rethink our assumptions in haunting, satirical and playful ways. 

Mental Ideas was lucky enough to join a Women in Publishing Society private tour. The tour began with an introduction by gallery owner Edith Pong, who radiates passion for elevating the stories of artists, and was followed by an enthralling exploration of Kadokura’s work with curator Darius Yeung, himself a talented artist. The exhibition’s title, ‘Palais Idéal du Pot’, we are told, pays homage to the French monument ‘Palais Idéal du Facteur Cheval.’ Cheval’s creative pursuit serves as a conceptual framework for Kadokura’s desire to construct a metaphorical palace using pots and flowers as symbolic bridges. 

The collection is a blazing riot of startling colour combinations, bold compositions and Kadokura’s trademark theatricality. He breathes restlessness and an edge of menace. Intriguingly, we are told the artist finds the flowers he paints “terrifying”. Yeung explains, “He thinks they’re ghosts and monsters.” A red Ferrari is turned upside down and dominated by a riot of signature bold flowers, as beautiful as they are unsettling. Vivid pinks dominate. The effect is energising, not restful, reflecting Kadokura’s contemplation on the symbiotic relationship of masculinity and “speed.”

Gender is not a simple dichotomy – it exists on a vast, colourful spectrum, and Kadokura’s work celebrates that complexity. But to define Kadokura as a gender identity artist would be missing his point. All his works are nameless. This is an artist who rejoices in rejecting and subverting self-limiting identity labels of any kind – but is seduced by fashion labels, inspired by the absurdity of lusting after surreal clothes we wouldn’t be “caught dead” wearing in our ‘real’ lives. Beauty and Horror strut the runway side by side.

Not everything is about gender. There are other curiosities. The Mona Lisa of cats sits in a glass vase (so ‘Cat Person’ is probably an acceptable label.) Slices of watermelon in the colours of the Palestinian flag, a popular Japanese emoji symbol of peace. Unsurprisingly, this was among the first pieces to sell. (We tried.)

As societal attitudes towards gender continue to evolve, identity art is poised to diversify. Artists like Kadokura are not only challenging societal norms, but also paving the way for a more inclusive, representative, and empowering forms of artistic expression. “The work being done by artists like Kadokura is vital,” says Yeung. “They are giving visibility to marginalized identities and creating spaces for people to explore and celebrate the full spectrum of gender.” This is just the beginning of a profound cultural shift.

Column for HK Women in Publishing Society written by Sadie Kaye