{"id":27639,"date":"2026-06-29T20:52:25","date_gmt":"2026-06-29T19:52:25","guid":{"rendered":"https:\/\/www.agneselect.com\/uncategorized\/yukiko-noritake\/"},"modified":"2026-06-29T22:32:18","modified_gmt":"2026-06-29T21:32:18","slug":"yukiko-noritake","status":"publish","type":"post","link":"https:\/\/www.agneselect.com\/en\/arts-culture\/yukiko-noritake\/","title":{"rendered":"Her Paintings Hold the Most Enchanting Side of Paris \u2014 Talking with Yukiko Noritake"},"content":{"rendered":"\t\t
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Yukiko Noritake, Louis Vuitton City Book Paris, 2024\nCover and interior illustrations.\nCourtesy of the artist.<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\n<\/div>\n
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Yukiko Noritake, Louis Vuitton City Book Paris, 2024\nCover and interior illustrations.\nCourtesy of the artist.<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\n<\/div>\n\n<\/div>\n
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The Louis Vuitton City Book, the walls of Charles de Gaulle Airport \u2014 when Paris wants to show the world its most beautiful self, it often turns to this Japan-born, Paris-based illustrator. She paints cities, landscapes, still lifes and portraits, but what stays with you are her interiors \u2014 rooms that don’t quite exist. With her solo exhibition Int\u00e9rieurs Imaginaires<\/em> now open in the Marais, I sat down with Yukiko Noritake to talk about her path as an illustrator and those imagined interiors.<\/p>

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Intro of Yukiko Noritake\uff1a<\/p>

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Yukiko studied French language and culture at university in Japan and worked at a Japanese industrial company before committing fully to art. She moved to Paris in 2015 and graduated from \u00c9cole de Cond\u00e9 in illustration and visual communication in 2018.<\/p>

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She paints meticulously in acrylic, building imagined interiors that bring the formal beauty of Art D\u00e9co together with a delicacy and sensitivity rooted in Japanese culture \u2014 furniture, plants and the occasional animal in quiet conversation. Her graduation project, Voyage au pays des odeurs<\/em>, written by Ana\u00efs Martinez and Oriane Daveau, was published by Actes Sud Junior the following year; in 2020, La for\u00eat des fr\u00e8res<\/em>, which she both wrote and illustrated, went on to win the 2021 Prix Libr’\u00e0 Nous, voted by 304 independent francophone booksellers.<\/p>

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Beyond publishing, she has created visuals for Louis Vuitton, Piaget, Pierre Herm\u00e9 and others. Her current solo exhibition, Int\u00e9rieurs Imaginaires<\/em> (Imagined Interiors), is held at Galerie Virginie Lesage.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Interview:<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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You studied French culture in Japan and began your working life there before committing fully to art and moving to Paris. What did France represent to you from afar, and how did living here change that image?<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\n\t\t\t\tTo be honest, the gap between my expectations of France while studying French culture in Japan and the reality of living here was largely within what I had anticipated.\n\nThe French studies program at my university covered a very broad range of subjects. It went beyond language and culture to include social issues and current affairs, so I was already aware of aspects of French society that differed considerably from the glamorous image of France that is often portrayed. As a result, I was not particularly overwhelmed by the contrast between the idealised image and the reality, as some people describe.\n\t\t\t<\/p>\n\t\t\t\t\t<\/blockquote>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\n\t\t\t\t\nThat said, I do think that, while living in Asia, I had already developed a certain admiration for the refined image of European culture that we are exposed to through a relatively limited and carefully curated lens. Those impressions inevitably shaped my perception of France. \n\n\nSince becoming an artist, I have had the opportunity to collaborate with brands and companies that are considered ambassadors of French culture, fashion, and the art de vivre. Being able to glimpse the culture from the perspective of those who create and sustain it has been particularly fascinating for me.\n\t\t\t<\/p>\n\t\t\t\t\t<\/blockquote>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Working inside a Japanese company and living as an illustrator in Paris can feel like two different worlds. What was the inner journey of crossing between them \u2014 what gave you the courage to leave one for the other, and what did you have to let go of along the way?<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\n\t\t\t\tI believe I was able to take that step because of my passion for drawing and because I felt that, with only one life to live, I wanted to trust in my own potential.\n\nMy experience working in a Japanese company provided the foundation I needed to navigate the professional world. At the same time, it was also the place that made me realize what I truly wanted to dedicate my life to.\n\nI was also fortunate to have a support network in France before I arrived. Friends from university had already moved there, and I remained close to my host family, so even after relocating, I never felt entirely alone. Knowing that there were people I could rely on gave me the confidence and reassurance to pursue this path.\t\t\t<\/p>\n\t\t\t\t\t<\/blockquote>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Your first book, La for\u00eat des fr\u00e8res<\/em> with Actes Sud Junior, marked the true beginning of your artistic life. What did that project reveal to you about the kind of artist you wanted to be?<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\n\t\t\t\tAs a matter of fact, La for\u00eat des fr\u00e8res was my second publication with Actes Sud. The first was a picture book I created as my graduation project at art school.\n\nShortly afterwards, the pandemic began, and La for\u00eat des fr\u00e8res grew out of the work I was making during the lockdown. It was a particularly quiet period, with very little work coming in, which gave me the freedom to experiment and explore the visual language I truly wanted to pursue. The book became a space where I could follow my instincts and develop my own style without constraints.\n\n\t\t\t<\/p>\n\t\t\t\t\t<\/blockquote>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\n\t\t\t\tFortunately, both the story and the visual universe of the book were very well received. Because the work reflected my own sensibility so directly, having it recognised and appreciated by others gave me tremendous confidence. It reassured me that trusting my instincts and creating in a way that felt authentic to me could resonate with an audience.\t\t\t<\/p>\n\t\t\t\t\t<\/blockquote>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Many of your paintings unfold as interiors, where architecture, furniture, plants and objects seem to hold a quiet conversation. When a piece begins, what comes first \u2014 a space, an object, a colour, or a feeling?<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\n\t\t\t\tIt varies from one work to another. The initial spark can come from a space, a colour palette, an animal that serves as a motif, or even a particular landscape or environment.\n\nFollowing the same process every time would certainly be efficient and comfortable, but I like to challenge myself by occasionally approaching things from a different perspective. It keeps my mind active and allows new ideas to emerge.\n\nVery often, while I am working on one painting, ideas for future pieces begin to appear spontaneously. One thought leads to another, and suddenly several new projects are already taking shape in my mind.\t\t\t<\/p>\n\t\t\t\t\t<\/blockquote>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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You often paint real, recognisable furniture and design objects into your interiors. Whose work do you most enjoy including, and what draws you to a particular piece?<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\n\t\t\t\tRather than being influenced by one particular designer or artist, I enjoy bringing together elements from many different worlds. I honestly couldn't choose a single designer whose work I admire above all others \u2014 there are simply too many whose creations I find inspiring.\n\nWhat I enjoy most is the process of building an interior world within each painting, entirely according to my own imagination and sensibility. It's a process that I approach with a genuine sense of freedom and pleasure.\t\t\t<\/p>\n\t\t\t\t\t<\/blockquote>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Your work weaves the formal beauty of Art D\u00e9co through a Japanese sensibility. Is that meeting a conscious dialogue between two cultures for you, or something more instinctive?<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\n\t\t\t\tIt is probably something intuitive. I am often asked about the sense of Japanese aesthetics that can be perceived in my work, but there are aspects of it that I myself have not fully grasped, and I suspect that I am expressing it unconsciously.\n\n\t\t\t<\/p>\n\t\t\t\t\t<\/blockquote>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\n\t\t\t\tIn the works for this exhibition, what I consciously tried to incorporate was the formal beauty of Art Deco. I believe that the sense of Japanese aesthetics lies, perhaps, in the feeling of leaving things in an imperfect state. However, this seems to be in opposition to the structured and orderly ornamentation of Art Deco. Despite this opposition, the two coexist within the paintings, which may be why viewers sense a connection between the two cultures.\n\t\t\t<\/p>\n\t\t\t\t\t<\/blockquote>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\n\t\t\t\t\nThe \"imperfect\" elements I refer to are, for the most part, expressed unconsciously. However, if I analyze them, they may manifest in the brushwork, the use of negative space, asymmetrical compositions, and the depiction of subjects with a certain sense of stillness or silence.\n\n\n\t\t\t<\/p>\n\t\t\t\t\t<\/blockquote>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Your work sits where fine art, illustration and a decorative tradition meet \u2014 boundaries the art world often prefers to keep apart. Do those distinctions matter to you, or do you find them limiting?<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\n\t\t\t\tAt this stage, I don't feel a strong need to define or protect those boundaries. It may mean that my work is difficult to categorise, or that people don't immediately know how to label me as an artist \u2014 but I'm comfortable with that.\n\nI feel that keeping myself open to many different disciplines enriches my own visual language and broadens the world I create through my work. For now, I simply want to embrace that richness and enjoy the freedom it offers, without feeling the need to fit into a single category.\t\t\t<\/p>\n\t\t\t\t\t<\/blockquote>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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You have made images for maisons such as Louis Vuitton and Piaget alongside your personal and gallery work. How does your approach change between a commission and a piece that answers only to you?<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\n\t\t\t\tThe two are very different.\n\nA commissioned project begins with a clear purpose and a specific brief. There is often a strong marketing dimension, and my role is to create something that reflects the identity and values of the brand. Throughout the process, there are regular reviews and feedback from the client, so it becomes an ongoing dialogue between my own artistic approach and their vision.\n\nOf course, there are challenges \u2014 tight deadlines, or moments when it takes time to fully understand what the client is looking for \u2014 but I genuinely enjoy that process. Working with clients often introduces me to worlds I wouldn't otherwise encounter, and those experiences frequently become a source of inspiration for my personal work later on.\n\t\t\t<\/p>\n\t\t\t\t\t<\/blockquote>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\n\t\t\t\t\nPersonal work, on the other hand, is complete freedom. A blank sheet of paper can become any world I choose to create. There are no constraints, and I can simply follow my curiosity and experiment with whatever comes to mind. For each of my solo exhibitions, I've developed a different series around a new theme.\n\nAt the moment, I'm not afraid of the blank page. But I do sometimes wonder how that relationship will evolve over time. In the end, I think being an artist is an ongoing dialogue \u2014 perhaps even a lifelong struggle \u2014 with creativity itself.\t\t\t<\/p>\n\t\t\t\t\t<\/blockquote>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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The exhibition : Int\u00e9rieurs Imaginaires<\/em> gathers this world under one roof. What did you hope a visitor would feel moving through it, and is there a piece in the show that surprised even you?<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\n\t\t\t\tI would be delighted if people simply enjoyed the works in whatever way feels natural to them. I don't want to impose a particular message or tell viewers what they should think or feel.\n\nOf course, it makes me very happy when someone connects with the world I've created or finds something they genuinely love in it. At the same time, I also find it fascinating when people respond with completely different emotions or interpretations.\n\nDuring the opening, I heard a wide variety of impressions from visitors, and no two responses were quite the same. I like to think of my work as a place where abstract, deeply personal feelings can emerge \u2014 where there are no right or wrong answers, only each viewer's own experience.\t\t\t<\/p>\n\t\t\t\t\t<\/blockquote>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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If you could step inside one of your own imagined interiors, which would it be?<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\n\t\t\t\tThat's a difficult question. If I had to choose, I think it would be Int\u00e9rieur imaginaire, the last painting in the series.\n\nThe work depicts an interior with a single, monumental painting standing in the room. But the elements within that painting seem to escape into the surrounding space \u2014 birds, clouds, and other figures exist both inside the picture and within the room itself. It is, quite literally, an imagined interior.\n\n\t\t\t<\/p>\n\t\t\t\t\t<\/blockquote>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\n\t\t\t\tIn a way, the painting reflects the landscape of my own mind while I'm creating these interior worlds. That's why I gave it almost the same title as the exhibition, simply changing Int\u00e9rieurs Imaginaires to the singular Int\u00e9rieur imaginaire.\n\nWouldn't it be wonderful if the birds and clouds from a painting you had created suddenly floated out into the room around you? I think that would be such a joyful experience.\n\n\t\t\t<\/p>\n\t\t\t\t\t<\/blockquote>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Int\u00e9rieurs Imaginaires runs through 4 July 2026 at Galerie Virginie Lesage, 8 rue du Tr\u00e9sor, 75004 Paris.<\/p>

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The Louis Vuitton City Book, the walls of Charles de Gaulle Airport \u2014 when Paris wants to show the world its most beautiful self, it often turns to this Japan-born, Paris-based illustrator. <\/p>\n","protected":false},"author":1,"featured_media":27605,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"pmpro_default_level":"","_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_post_was_ever_published":false},"categories":[83],"tags":[],"class_list":["post-27639","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-arts-culture","pmpro-has-access"],"yoast_head":"\nHer Paintings Hold the Most Enchanting Side of Paris \u2014 Talking with Yukiko Noritake | AGNES SELECT<\/title>\n<meta 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