Hiroko Seki has developed her art career since childhood in a uniquely diverse combination of apprenticeships and training with masters of the arts from which she eclectically draws for her creations today. She has continuously added new aspects to her art repertoire. She now encompasses the full range of Japanese painting techniques, as well as prominent three-dimensional design disciplines. These complementary masteries empower her unique twist on simplicity in art. Her paintings draw the beholder beyond their borders. Her large screens create unique backdrops for three-dimensional interactive design concepts that extend the power of art beyond frames.

1. The beginnings

• Born 1949, Ibaragi, Japan.

• Constantly enchanted with painting as a child and young woman, her paintings won school awards and recognition.

• Commitment never waivered from becoming a professional artist; determined that all work must contribute to artistic expression.

2. The training and Western techniques

• Suidobata Art Institute, extensive sketch and design. (1971-73)

• Musashino Art College, oil painting. Worked with Horiuchi Sensei. (1974-76)

3. Rediscovering Japanese roots

• Apprenticeship and professional work with the Kobayashi masters in rokuroh; the fine art of Japanese wood turning, Miyazaki (1977-80)

• Simultaneously built trade in Japanese antiques, gaining an even more professional eye on the breadth and depth of Japan's artistic past.

• Began painting extensively with suiboku; using mineral sticks that are ground to a slurry like sumi. Sold paintings privately in Japan and U.S.

4. Japanese painting (1981-87)

• Moved to Tokyo to paint on silk for the exclusive kimono bolts of the Wakui yuzen masters.

• Added gansai painting; prepared mineral/binder combinations.

5. Nihonga; ancient Japanese tradition of natural materials (1988-91)

• Began study of nihonga, a most challenging combination of Japanese styles, brush techniques, and use of raw mineral powders with heated binders.

• Adapted her own concepts to take advantage of the much greater depth of mood and subtle reflection of light offered by nihonga materials. From paints and mineral preparations she shifted to classic iwaenogu; the pure mineral and oxide powders that must be attached by separate natural binders. Apprenticed with nihonga masters Ohta Shoko and Suenaga Koji, professor of nihonga at Tokyo Geijutsu Daigaku, Japan’s premier university for artists.

• Expanded design disciplines and use of natural materials under Koryu ikebana grand master Nagashima Risui. Fused these principles of three-dimensional design into nihonga works. Created new concepts in space through interaction of ikebana and byoubu screens.

• Invented "Verge Theme"; based on implicit action about to unfold in her paintings. Geared “verge” works to interact with three-dimensional art near the pictures.

6. Large scale Nihonga byoubu screens, and transcending design techniques (1991-present)

• Moved to Pacific Northwest of U.S. Completed full size screen sets with wetland, arboreal and natural phenomena themes in nihonga materials.

• Focused on building catalog of sketches for experimental development of three-dimensional conceptual experiments, including the natural mineral paintings of nihonga as backdrops.

• Moved beyond private sales of nihonga with 1992 show at Columbia Tower, regular teaching at a Washington State college, and chairmanship of Ikebana International's largest 1992 Seattle area show.

• Exhibited slides of nihonga works at Seattle Art Museum show for outstanding talents resident in the Northwest.

• Exhibited and demonstrated nihonga at Puget Sound Gallery.

• Exhibited and demonstrated nihonga at Issaquah Fine Arts Show.

• Now focusing on increasing international forums for her “interactive” and “verge” (impending action) theme works in nihonga, while realizing her new visions in combinations of all sizes.