YUkimasa Ida

25 MARCH – 12 APRIL

 

Yukimasa Ida, Where the Wilds Things Are, 2024, Oil on bronze, 20 x 18.5 x 44 cm

 

Dates

25 March – 12 April 2026

Location

2/F, Gold Ball

K11 Musea, Victoria Dockside

Tsim Sha Tsui, Hong Kong

 

VILLEPIN is pleased to announce the first presentation of Yukimasa Ida’s work at K11 MUSEA, coinciding with Hong Kong’s Art Month. This exhibition introduces Ida’s distinctive approach to painting, defined by fluidity, intuition, and continual transformation. Working with instinct and speed, he resists the notion of a fixed image, allowing forms to blur, dissolve, and reappear. His figures hover between presence and disappearance, suspended in a state of becoming.

Drawing from fleeting encounters and the quiet weight of everyday moments, Ida’s paintings reflect on memory, loss, connection, and impermanence. Rooted in the philosophy of ichi‑go ichi‑e – one time, one meeting – each work captures an unrepeatable moment.

Presented in Hong Kong, a city of intensity and perpetual reinvention, Ida’s practice finds a natural resonance. His paintings, layered and alive with movement, invite us to recognise the beauty of what is passing. The exhibition itself becomes one such encounter.


Featured works

 
 
 

Yukimasa Ida, Mai, 2024, Oil on canvas, 162.3 x 130.7 x 4.2 cm

 

Yukimasa Ida, Neil Armstrong, 2025, Oil on canvas, 45.8 x 38 x 3 cm

 

Yukimasa Ida, Over the Rainbow, 2024, Oil on canvas,
46 x 46 x 3.5 cm

 

Yukimasa Ida, Where the Wild Things Are, 2024, Oil on bronze,
20 x 18.5 x 44 cm

Yukimasa Ida, Horse, 2024, Oil on canvas, 116.8 x 116.5 x 2.7 cm

Yukimasa Ida, Double Rainbow, 2024, Oil on canvas,
163 x 131 x 3.6 cm

 
 

 
 

YUKIMASA IDA

Born and raised in the idyllic seaside town of Tottori in southwest Japan, the Millennial painter is perhaps best known as the message-bearer of the Zen-influenced Japanese philosophy of “ichi-go ichi-e”, which originated in the island nation’s elaborate tea ceremony. Literally meaning “a once-in-a-lifetime moment”, the four-character idiom encapsulates the transience of life, and hence the importance of cherishing the unrepeatable nature of a fleeting moment, for it never comes around twice. Ida’s distinctive style has its roots in his hometown of “ocean, mountain, and rivers”, while his artistic outlook was further informed by a horizon-widening trip to the Indian subcontinent, as well as the loss of close friends and family members.

He trained himself to draw quickly, at once disassociating and reappropriating traditional painting techniques. With a spatula or his bare hands, Ida stretches paste on the surface to capture the moment, the ephemeral. In so doing, he intentionally leaves the subject-matter, background, and indeed composition in the limbo between completion and incompletion. Ida crystallises the moment by distorting forms and figuration, for memory has no form other than fluidity. Exhibiting rich impasto and flurries of vibrant colours, this burgeoning young artist’s paintings are vivid snapshots in time.