The Galerie Jacob Paulett is one of leading galleries of “nippon neo pop movement” and ” high fashion japanese photography”. One of the main artistic axes of the Galerie Jacob Paulett is the follow-up of the movement of the japanese neo pop and the development of its audience on the major international stages. Representing many young international artists (all artists of the japanese studiocrazynoodles: Hiro Ando, Aya Toshikawa “lady Kawai”, Yoshihiro Fujita, Potchi Moopp but also Sam Son,Miki Kato, Akif Hakan …..), the Galerie Jacob Paulett is recognized for its capacity to identify young emergent artists of these trends and its know-how necessary for the development of the audience and the career of those artists. The Galerie Jacob Paulett attracts an international clientele, in constant growth, and offers its services to a number of worldwide advisors and art dealers, for the young emergent artists whom it represents, as well as for international major artists and leaders of these movements.

Considering the Neo-Pop Art

Radiating power from its erect stance, Allen Jones‘ fetishized and feminine statue Hatstand emblazoned itself upon the 651st issue of Bijutsu Tech?, proclaiming the periodical’s focus as “Pop to Neo Pop, 1956-1992.” With the “neo-pop” term purportedly coined by the Japanese art magazine’s editor, Kiyoshi Kusumi, its most decidedly vocal champion would become critic Noi Sawaragi, who clarified the movement as not being simply “new pop” but rather a form of artistic expression unique to Japan. While it may frequently appropriate from the country’s popular culture, according to Sawaragi, this aesthetic is exploited by neo-pop to examine the complex history of Japan, especially concerning its military. Like a melting pot of the modern and the traditional, neo-pop encompasses a diverse range of artists, including Takashi Murakami, Kenji Yanobe, Makoto Aida, Katsuhige Nakahashi, and Hiro Ando

The Neo-Pop Art of Hiro Ando

Transitioning one from the outside world’s mundanity into the sacred, the centuries-old Shinto shrine’s red-gate resides next to a glass skyscraper, its cloud-brushing height a monument to modern achievement. This is the comfortable dichotomy of Tokyo, the city where Ando became inspired to pair the past with the future. Exhibiting this through the likes of koi fish impossibly swimming within a sprawling urban cityscape, his two-dimensional explorations of this theme are arguably overshadowed by his signature sculptural versions, most notably his anthropomorphic cat-based works. Around mid-2006, Ando began issuing his so-called cat series with that first year’s SamuraiCat and RobotCat designs, debuting a concept that would carry through the subsequent SumoCat, UrbanCat, and WarriorCat sculptural editions. Adorning bipedal felines in traditional Japanese garb, Ando successfully appropriates his native culture’s obsession with cartoonishly cute cats, as exemplified through the success of Hello Kitty, while maintaining the serious tone of Japan’s heritage. Embodying the elegant grace, sinewy strength, and discrete power of the feline form, Ando’s sculptural renditions have been issued in fiberglass resin, stainless steel, and porcelain