webmaster

J U M I O    J O S É     S H I M A B U K U R O
Jumio Jose Shimabukuro 2004.Vive L'amour. Oil On Canvas. 80 x120 cm	Jumio Jose Shimabukuro 2002. Surprise. Oil On Canvas. 120 x85 cm
Jumio Jose Shimabukuro 2000. Sunrise in Venice. Oil On Canvas. 65 x 85 cm	Jumio Jose Shimabukuro 2001. Nocturnal. Oil On Canvas. 50 x 60 cm
Jumio Jose Shimabukuro 2003. ady and flowers. Oil On Canvas. 115 x160 cm	Jumio Jose Shimabukuro 2003. Four seasons. Oil On Canvas. 80 x120 cm
Jumio Jose Shimabukuro 2003. Dreams. Oil On Canvas. 40 x 50 cm	Jumio Jose Shimabukuro 2001. Too young for love. Oil On Canvas. 90 x110 cm
Jumio Jose Shimabukuro 2001. The wait. Oil On Canvas. 90 x110 cm	Jumio Jose Shimabukuro 2000. Do you know who is comming for dinner?. Oil On Canvas. 90 x110 cm

jumio jose shimabukuro

When my father was taking me to his fishing adventures, I was observing him attentivly then to draw it in house, sat between the rocks with his apparels of fishing and plunged in his deeply meditations. Other times, I was drawing him standing up, emphasizing his solitary figure against the pertaining to the sea radiance of the late afternoon, while the waves broke forth thunderous on having smashed against the headlands.
 But if something reaffirmed my vocation, it was the fortune of having grown in a home where the books and the encyclopedias were abounding. I was submerging among the pages poking in them to find the marvellous sheets of the big teachers of the painting. They say that when the Corregio saw the picture of " Saint Cecilia " of Rafael, he declared: " Anch • io son• pittore ". Probably because since then I started dreaming of being a great painter, I also declared, to my way, " I also am a painter ".
Nevertheless, and for motives that now newly I understand, my parents always objected to my artistic vocation. I remember that before, I do not know if till now, it might enter to the School of Fine Arts to continue the High School one simultaneously that together was continued by the career of art. Instead of it, they registered me in an industrial Institute, in order that, in case I was insisting on my artistic determination, "  had a office to survive ".
 My performance in the Industrial Institute was very dramatic and entertained simultaneously. When they said to me that I was going to take the subject of technical drawing I was glad exceedingly, but when I verified that what I had to do were geometric projections, rigorously and neatly delineated, i thought that they were trying to pillage my creative discretion and I rebelled. It is so behind every sheet, flood of straight lines and curves, I decided that a drawing of my inspiration must be as measurement to protect of my creative instinct. This had like a great conflagration proved between my teachers and me. Ultimately, they won because they postponed me and I had to take the subject during the whole summer.  
In the following year there was a subject of artistic education, but my teacher only could make manualidades, and when he entrusted us, as task, realize a drawing to charcoal, on a free topic, I re-produced, in a big cardboard, " The kidnapping of Leucipo's daughters" of Paul Rubens. My task was confiscated by his sensual subject matter and because of that it was not fitted inside the parameters of the study plan, it was not qualified.  
Moreover, and for my attempts of emulation, after having read Leonardo's life, and already in my inventor's phase, almost I was expelled from the Institute, when the fuses made explode, in the subject of electricity, and almost make demolish the radio set that my teacher was situated arranging in this instant. In spite of earning a scholarship of studies, later on, in the Technical Native Jose Pardo, where I knew the great teacher Ocaña, the whole staff of professorship, including the director, they labelled me of " contumacious and useless " for not having been very brilliant in the subject of technical drawing. I never imagined then that years later these knowledges would serve me to create my works of op-art.
 My youth was, so, full of paradoxes. When I was dealing the fifth year and already to finish the high school, a friend, who was dealing studies in another college, asked me to help him, so as final test, in the subject of art, he had to present a painting. I chose, for the dramatic composition: " The execution of May 3, 1808 " of Francisco Goya. My friend earned himself the laurels and the plaudit of all his nursery and, besides, a special recommendation to continue studies of painting in the School of Fine Arts. I was glad for him, but I could not stop feeling great sadness. From that moment, to deposit the ENBA (Fine Arts National School) was constituted in a question of honor for my dreams.
 Unfortunately, the economy of my home was in crisis, and my major brother, who was resting on my projects, was not doing much that had expired. I decided then, to forget my longings and entered to Huacho's University, in the year 1968, when still it was a branch of the University of the Center, chose the career of economy, without real conviction because inside of me was moving a dissatisfaction bigger than the one that originated the French Revolution. That’s because, after desertar of the university classrooms I move to Lima to try to deposit the ENBA (Fine Arts National School).
 In the capital, I obtained work in a Japanese publishing house and while I was preparing myself to fulfill my longings, knew the great portrayer from Arequipa, Raúl Echave. He was who encouraged me to continue painting and being the same the one who after understanding that alone me it could only the nights to study in the ENBA, because I had to work during the day, helped me register as free pupil
Again, the economic reasons, they urged me to leave the art school and to deciding, this time, forever, to forgetting my dreams, but as says a former adage: " the goat com back to the mount ", I recaptured my paintbrushes and I put to paint pop's pictures and op-art. Nevertheless, already i was qualifying myseft as figurative painter and following the advices of my guide, I devoted myself to paint feminine faces. Later, when I had opportunity to know personally the works of Tizziano, Tintoretto, Corregio, Boticelli, Leonardo, Michael Angel, Rafael and Support, I realized that I had sealed off the idea of the Renaissance beauty represented by the ideal feminine one. Today, I try to preserve this trend to involve them inside a more eclectic conception, especially, for my style of the " Magic Realism ", influenced by Magritte and Delvaux.
 It is true that I have controlled in some exhibitions in The United States, Japan and lately, in Lima, but I am not inclined to intervene in them, especially in these times where creativity is subordinated to the commercial aspect. It is sad that some modern artists put over to his works the prominence of his ego and only they look for material achievements. Picasso was saying that " the painting is not done to decorate apartments; it is an instrument of war against the brutality and the glooms "
 I intervene neither in contests nor competitions of art because it seems to me to be absurd that an artistic conception, in which they control diverse factors of interaction and influences, so much you send inland as day pupils, could receive, contradictory, a dogmatic valuation. The history has demonstrated that the prizes are relative, but let's remind the life of the majority of the geniuses of the modern painting as like Van Gogh., Renoir, Pissarro, Monet, and other masters of the impresionism, who before receiving a recognition, only received jeers.
 It`s more coomendable, it seems to me, that by means of the creative effort the painter tries to impose the genius of his works. For Teodoro Núñez Ureta, who was a painter self-taught and he was the director of the ENBA (Fine Arts National School):... " they are not, (I repeat) (sic), the alone topic and the alone technic, what they could decide the quality of a work, nor to be constituted in foundation of a guessed right classification ". In other lines, he adds..  " On the other hand, in all the places and in all the epochs, it always had and there is good painting and bad painting; but this is neither sufficient classification nor scale of values ".
 I just paint because I love the art, and I just paint also because I feel happy on having done it, as when he was a child and onlyI was waiting to change, a smile but of approval, at least of happiness. Or as this dreamy young man who was trying, and continues trying it, to paint to the love, the passion, the life itself.
 © JUMIO SHIMABUKURO  (JUMIO OBREGON)

About my works
My painting is fitted within the denominated school `' Magical Realism'', denomination created by the great Colombian writer, Gabriel Garcia Marquez, to seal its style.
In this magical and pictorial reality, the absurd one is not exclusive ingredient of the subconscientious, as they conceived the dadaísts; but a fact that is in the nature and the daily life.
According to some critics, my paintings have certain influence of the school pre-rafaelism, but that is only because I resort to the image of the woman to recreate my works.
Rather, they have certain meaning of the figurative technique of Magritte, that combines the image of the reality with the language of the concepts and the colors.