I have been teaching fulltime for almost thirty years. These years I also have been in charge of the Community School in which I teach adult students figure drawings and water color on Saturday and in summer vacation. I enjoy my job and painted many pictures with them. And I have got many friends in Nagano,Bali island, Ireland, Switzerland and Canada. Having a retrospective exhibition has been one of my long cherished wishes. One of my former students devoted himself to design and constructed this site. Now my dream has come true on the net. I appreciate all my friends and students. Shuji Uehara
I have never painted oil pictures on the spot. So landscape pictures are finished in the studio by using photo pictures and sketches as a reference. I try to imagine as if I were at the same spot during painting. And I can feel a breeze and the sound of waves in my mind. I found a silver color in the morning cityscape and a golden color on the horizon. I want to capture such capricious colors and put them on the canvas spontaneously.

I got a nice texture on canvas by priming with a mixture of Artista Formo; children's clay, and Gesso. It absorbs oil moderately and is easy to scratch or even chizul the surface. It works just like a rough NOT paper in case of water color. I am looking for some tips to treat oil color freely.

We our family traveled to Irland, Bali, and my wife's counry Nagano. Those places led me to paint land scapes. When I am in Yokohama I like to spend lunch time in my garden espetially in spring with beer.

I went Kobe just after the disaster of the earthquake. I wanted to express a heap of rubble and suppressed crys by the vertical long rough mural.

In 1995, I had my first one man show in my residential city Yokohama. Since then I have a one man show every year in Yokohama. For a long time I had been seeking consistently to show my pictures at the gallery in Ginza, the heart of the Japanese art scene. It seems to me that people walk fast, hop in to galleries quickly in Ginza while they drop in, sit down, sip a cup of tea and talk a little in Yokohama. And it gives me an oppotunities to make friends. Probably a scatter of galleries is the cause of this custom in Yokohama.

I display stretched pictures back and forth by spacers and for big pictures on angles. In those days I hardly painted small pictures and I did not hang the pictures with frames. Painting pictures and showing them to the public had a totally different meaning of that of today for me personally. I was intending to provide a topic through the exhibition. I talked big by painting big pictures. I did not care whether observers wanted to talk with me or not.

I begun to paint intimate subjects, such as close friends, family members, inside and outside of my house.

In 1987 I went abroad for the first time. But this exhibition was held before that tour. I was still in a chaos. After a recess I yearned a mural like picture again. But that time I decided to paint in the vertical position. So I used stretched canvases and join twelve pieces together. And I hung it on an unsuitable walls of the gallery. Eventually it exhibited distortion. And I was happy with the effect.

In some kind of chaos, I had five one man shows at Nirenoki Gallery in Ginza. It closed in 1984 due to the bankruptcy of the gallery. In the last four shows I painted a series of mural like pictures. It was a coincident of the problem solver from the small entrance of the gallery and a desire of expression of vast images.

I was not concerned about real affairs. It is little worth to reproduce reality on the canvas. I lived in an illusion and fantasy. I accepted the world of the movies and TV and I browsed the gravures of magazines. I am cocooned in a harmless surrounding of media. In conclusion it was a cheap resource in adolescence. In the following several years I fell into the bottom of the ravine.