Based in New York, Enrico Isamu Oyama conducted this interview at his Tokyo studio, EIOS Tokyo, which he established in 2020 as his second base. The space, with its soaring 6-meter ceilings, is surrounded by white walls that bear the remnants of his past works. Overhead, canvases in progress hang, while essential tools are meticulously organized around him. This environment feels like an experimental lab for Oyama, who is also recognized as a researcher in aerosol writing.

―― Can you tell us about your signature style, Quick Turn Structure? What inspired its creation?

During my high school years, I was influenced by the initial boom of street culture in Tokyo. Many of my classmates were into skateboarding and breaking, which sparked my desire to pursue something different from them. Coupled with my longstanding interest for drawing, I became drawn to street art. This led me to notice the street art around me. While aerosol writing culture emphasizes names and lettering, I was captivated by the visual elements—particularly the dynamism and threedimensionality of the lines. This realization prompted me to focus on movement rather than text, ultimately leading to the birth of Quick Turn Structure.

――What mechanisms drive Quick Turn Structure? Can you share any rules that inform its structure?

It begins with bodily movements, particularly focusing on the shoulders and elbows as the axis from which the arms swing. This creates forms that expand outward. By adding parallel lines, a three-dimensional structure emerges. These layers overlap and connect, creating a fluid, flowing line that also possesses a structural form. I believe this duality is a hallmark of my expression.

―― You created new artwork for this magazine. Can you walk us through your thought process from the moment you received the commission to the final production?

I wanted to tap into the core philosophy behind the product, beyond just its physical form. Given that CASIO started with calculators and eventually created G-SHOCK, I expanded my vision from the concept of “digital.” Additionally, since I draw inspiration from street expression, I was interested in the athletes that arise from street culture. This led me to propose a collaboration with Shigekix, a BBoy supported by G-SHOCK.

――What is the concept behind the artwork?

Since the artwork would be featured on a magazine spread, I wanted to leverage that structure. Digital representation is expressed in binary code—0s and 1s—which prompt the flickering of light. Thus, I created two visuals that are aligned side by side, producing a flickering effect. I asked Shigekix to pose for two photos, using a technique where each item— the cap, T-shirt, pants, and shoes—were inverted in black and white, intersecting with Quick Turn Structure. This resulted in a work that merges the concepts of digitality, street culture, visual expression, and bodily expression.

―― As the director on set, what was your impression of Shigekix's performance?

He executed it perfectly. His professionalism as an athlete really stood out. Typically, breaking involves moving to music, but this time we aimed to capture a moment in stillness. I believe we showcased a sculptural form that was different from his usual performance, emphasizing the beauty of his signature “freeze.”

―― Having worked on various collaborations, what have you learned or gained from these experiences?

Collaborations are vital for me. The Quick Turn Structure is fundamentally self-sufficient, meaning it can stand alone as an expression. However, it needs to adapt to various external conditions. This could relate to the physical attributes of materials or substrates, as well as communication and brainstorming with other artists, curators, or businesses. This process allows Quick Turn to evolve. The concept for this artwork, FFIGURATI #645, emerged uniquely from the collaborative context of this project. Originally intended for magazine publication, FFIGURATI #645 has since evolved into FFIGURATI #646, which further clarifies the flickering concept and transforms into a video piece tailored for digital platforms like Instagram. I collaborate as a way to expand the potential of the forms encapsulated within Quick Turn Structure, broadening my own artistic horizons.

01.
At the photoshoot for FFIGURATI #645, Oyama was actively involved in directing all elements, from the background to the composition. He meticulously checked and adjusted everything while exchanging ideas with Shigekix, ensuring that the “freeze” pose resonated with their artistic concept while also considering its replicability.

02.
A shooting space has been set up in a corner of the studio. The walls display Quick Turn Structure drawn directly on a canvas, leaving behind impressions once the canvas was removed. These overlapping layers make the wall itself a work of art.

――What significance does G-SHOCK hold for you?

A watch is fundamentally a tool for measuring time. In that sense, G-SHOCK transcends mere functionality. Modern life is filled with tools that track time, and G-SHOCK stands out as more than just a timepiece. It possesses fashion icon status and a presence that makes it multi-dimensional and impactful.

――What principles guide your creative process in the studio?

Since I spend a considerable amount of time here, I want it to be a comfortable space for me. I focus on minimizing stress in my workflow, ensuring that the environment is optimized for the creative process. In a sense, the studio acts as an extension of my body. When I am working on a painting, each action alters its composition—adding a line to the top right can drastically change the dynamics on the canvas. What seemed perfect a moment ago might suddenly feel unsettled. I don’t remove elements; instead, I keep adding to find balance, which requires intense focus. That moment of immersion is when I feel most captivated by the work.

Profile.

Enrico Isamu Oyama

Enrico Isamu Oyama (born on 1983, Italian / Japanese) creates visual art in various mediums with Quick Turn Structure; the black and white motif composed of spontaneous repetition and expansion of free-flowing lines extracted from the visual language of aerosol writing, the core genre of contemporary street art that originates in 1970’s-80’s New York. Since 2020, Oyama works in 2 studios in New York and Tokyo back and forth.

Left
The floor is covered with a white sheet. “Both the walls and the floor get messed easily,” Oyama notes, yet even the marks seem like fragments of art. The whole space reflects his movements, filled with an inspiring creative energy.

Right
All equipment in the studio is unified in black, arranged for instant access when needed. The tool cart holds approximately ten of each type of pen and tweezer, realizing the comfortable workflow mentioned in the interview.