![[Through Sunday, September 27] ARKO 2025–2026: Mayuko Kose Exhibition 〜 A monumental 5-meter work created during a three-month stay in Kurashiki](https://media.kuratoco.com/wp-content/uploads/2026/07/16101009/IMG_6547.jpg)
ARKO (Artist in Residence Kurashiki, Ohara), run by the Ohara Museum of Art Foundation, is a residency program in which artists selected through an open call stay in Kurashiki and spend up to three months creating and exhibiting their work.
Starting in fiscal 2025, ARKO restarted as one of the “Artist Collaborative Exchange Projects.” The first participating artist is Japanese-style painter Mayuko Ose.
From early April, Ose spent three months creating work in residence at an atelier on the grounds of Muisonso, associated with Kojima Torajiro.
On July 15, 2026, Ose’s exhibition, “ARKO 2025–2026: Mayuko Ose,” opened in Gallery 7 of the main building at Ohara Museum of Art.
The gallery features a large work nearly 5 meters wide and five smaller pieces. Here, we introduce the exhibition and a Q&A with Ose held to mark the unveiling of her work.
The information presented was current when this article was published in July 2026. Please note that it may differ from current information.
“Attack on No. 24,” painted during a three-month residency
At the center of the exhibition is the large work “Attack on No. 24,” which Ose completed over three months. At approximately 5 meters wide, it is the largest work she has created to date.
At the center of this large work, themed around the “boundary between humans and wild animals or other threats,” a shark is caught in a net. The image was inspired by human remains unearthed at Tsukumo Shell Mound in Kasaoka City, believed to be the world’s oldest known victim of a shark attack.
The remains are known as “No. 24” because they were the 24th to be discovered at the shell mound. The title “Attack on No. 24” was inspired by this designation.
The five works displayed on either side of the main piece depict things Ose saw during her residency and things she encountered while developing the concept for “Attack on No. 24.”
We previously interviewed Ose about what led her to paint a shark and what it was like creating work at Muisonso.
▼ Read the article below for more details.
Mayuko Ose: “I gave each element its own meaning as I painted it”
On the first day of the exhibition, we spoke with Mayuko Ose about how she feels now that the large work is complete, its composition and use of color, and how she approached creating it within a limited timeframe.
What do you think of the exhibition of your work?
Ose (surname only)
When I’m working in the atelier, I paint with the work laid flat on the floor.
Seeing it hanging on the wall like this gives me a different perspective on the painting, too. I also felt that it stood out even more in the gallery with its white walls, which was interesting.
Were there any challenging aspects of creating the work?
Ose
This was the largest work I’ve ever made, so I struggled at first to decide on the scale of the figures and the composition.
When I sketched it at the size I’d initially envisioned, it ended up being too large. I had to peel it off and redraw it at a smaller size several times while working out the composition.
Could you tell us about your use of color?
Ose
I painted the shark, net, and figures at the center using contrasting colors—red and green, which are complementary colors.
I gradually chose the surrounding colors so that those elements wouldn’t look out of place. I think it worked well because everything blends together.
Beyond the shoji screen on the right, it looks as though another world is opening up.
Ose
The shoji screen is torn, and beyond it you can see a rainbow-like landscape. I aimed to create the impression of a slightly futuristic world in another dimension, different from the space on the left.
I imagined the two worlds connected by a yellow chain.
The atelier has no electricity, so you could only paint from morning until dusk. How did you adapt to that?
Ose
I think I was able to focus on my work by setting a schedule and deciding, “Today I’ll paint this part.” If I tried to paint with unlimited time, I might end up dawdling, so working within those constraints was an interesting experience.
It made me want to treat each element with care.
Could you tell us about your future artistic plans?
Ose
Being able to paint my largest work yet in a constrained environment gave me confidence.
I’m really looking forward to returning to Tokyo with this feeling and starting a new painting.
Do you have a message for people coming to see the exhibition?
Ose
This work is filled with many motifs. I gave each one its own meaning as I painted it.
I’d be happy if you looked at the work freely and interpreted it in your own way, wondering, “What does this mean?” or “How are this motif and that one connected?”
On view through Sunday, September 27
The work, approximately 5 meters wide, features a variety of motifs.
A shark’s mouth, a brightly colored net, someone eating an ice pop, a yellow chain, a cave, flames, flowers, a starry sky, and more. The more I looked, the more intriguing motifs I noticed, and I felt my imagination being stirred.
An artist talk by Mayuko Ose will also be held on Sunday, September 6 during the exhibition. Hearing Ose speak after viewing the work may lead to new discoveries.
The exhibition runs through Sunday, September 27. For details, visit the Ohara Museum of Art website.
Articles about the Ohara Museum of Art
ARKO2025-2026 Mayuko Kose Information
| Name | ARKO2025-2026 Mayuko Kose |
|---|---|
| Dates | Wednesday, July 15–Sunday, September 27, 2026 9:00 a.m.–5:00 p.m. (last admission at 4:30 p.m.) 【Closed】 Monday, July 27; Monday, September 7; Monday, September 14 |
| Location | 1-1-15 Chuo, Kurashiki City, Okayama Prefecture |
| Admission (tax included) | Adults: 2,000 yen High school, junior high school, and elementary school students (under 18): 500 yen |
| Website | ARKO2025-2026 Mayuko Kose |
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