Kazuyuki Takishita (born 1975 in Kumamoto, Japan) graduated from the Department of Design at Tokyo University of the Arts and completed his MFA in the same field under Professor Chinami Nakajima. Since 2005, he has dedicated himself fully to his artistic practice, developing a distinctive visual language that bridges traditional Japanese motifs with a contemporary sensibility. Takishita is best known for his “Momotaro” series, in which he reinterprets the classic Japanese folktale by deliberately removing its hero, Momotaro, and instead centering the narrative on the oni (demons). Traditionally depicted as fearsome antagonists, Takishita’s oni are portrayed as lively and humorous beings—celebrating, dancing, and interacting playfully with animals—thereby subverting conventional narratives and offering new possibilities for storytelling. His works are characterized by a unique technique in which lines are carved directly into wooden panels using chisels, combined with vivid acrylic colors. This process creates a striking visual tension between painting and relief, resulting in surfaces that possess both painterly richness and sculptural presence. In addition to the Momotaro series, he also engages with classical subjects such as Fujin and Raijin (Wind and Thunder Gods) and dragons and tigers, reimagining them through dynamic compositions and bold color schemes. Takishita’s works are held in major museum collections, including the Menard Art Museum (Aichi), Narukawa Art Museum (Hakone), and the Contemporary Art Museum Kumamoto. His publications, including numerous monographs released by Kyuryudo Art Publishing, further attest to his established position within the contemporary art scene. In recent years, he has also expanded his international presence through art fairs such as ART TAIPEI. Beyond the realm of fine art, Takishita actively engages in cross-disciplinary collaborations and product development, including figures, picture books, plush toys, and karuta cards based on his oni motifs. His collaborations extend to cultural icons such as the late yokozuna Chiyonofuji, the Takarazuka Revue, and the popular manga “Kinnikuman.” Through these diverse activities, Takishita continues to blur the boundaries between high art and popular culture, presenting a vivid and contemporary reimagining of Japanese visual traditions.