Q. Today we are interviewing Toyomi Dubai, the director of Art Runway. Let’s get right into it. What inspired you to start Art Runway?
TD. It began when I hit a personal limit with the contrast of light and darkness in my artistic work.
Q. I’m sorry, could you explain that a bit more clearly?
TD. I think many artists—myself included—carry a lingering question deep inside: “Do I even belong in this society?” I struggled to fit in, often felt like I was forcing myself to live a certain way, and never quite found where I belonged. The only time I truly felt aligned with myself was when I was creating art. In those moments, I didn’t have to lie to anyone. I could fully immerse in my own senses and the artwork. That was pure bliss for me.
Q. That actually sounds like a pretty happy state to be in. Why change it?
TD. It’s not that simple. I wanted more people to see my work, to expand my activities. So I began holding solo exhibitions and joining group shows. But those spaces often triggered a painful gap between self-alignment and self-alienation.
Especially in group shows, I felt overwhelmed by comparison and judgment. But there were also moments that saved me—like when someone said, “This is beautiful,” or when I spoke about my work and felt truly seen. Those were the moments I wanted to expand. I also realized how unskilled I was at articulating my art. I wanted real practice in expressing my work.
Q. And that led to LOVERSARTS BAR?
TD. Yes. I created a space where artists could share their portfolios and talk about their work, even without having an exhibition. I realized the act of “talking about one’s art” itself had deep value. Artists came from all over Japan. That’s when I understood I wasn’t the only one craving a space like this.
Q. How did it feel to actually run the event?
TD. It gave me a clear view of the challenges artists face. Watching them passionately flip through portfolios, I felt this hunger growing inside: “I want something more. A different approach.”
I continued exhibiting and even sold artworks, which was incredibly fulfilling. But I came to a realization: repeating exhibitions and selling pieces—something was missing from that cycle.
Q. What was that “something”?
TD. Simply put: a sense of being alive. That soul-stirring moment when you feel, “This is why I’m here.” Selling art made me happy, but it quickly turned into, “I need to sell more.” It felt endless and unfulfilling. So I paused and reflected on my life.
I remembered my time as a stage actor. Being on stage, I felt truly alive. That was the key—I needed a stage.
Q. You decided to merge art and stage?
TD. Exactly. I wanted to perform as an artist. Then I recalled an experience at World Art Dubai 2024. There was a performance called “Art Walk,” where artists walked across a stage holding their artworks. The MC did beautiful artist introductions. I loved it so much, it made me want to go to Dubai just for that. But in Japan, nothing like it existed.
So I thought, why not create an upgraded version myself? That’s when the idea hit me: walk the red carpet, holding artworks.
Q. Why did you choose Otsu for the first Art Runway?
TD. I was born in Otsu. Though I now split my time between Tokyo and Otsu, I felt that I had to launch the first event in my hometown. It was a thrilling and risky decision.
To be honest, Otsu isn’t known for its art scene. It’s a quiet city despite being a prefectural capital.
Q. So it was a real challenge.
TD. Yes. But there was a spark of hope. At one of the art bars I held in Otsu, I shared my vision—and people resonated. That’s when I knew it could work.
From there, I gave it everything I had. I emailed every art school, gallery, and studio I could find. Sometimes I visited places directly, just to find kindred spirits.
Many emails went unanswered. One gallery even told me, “We’re all senior citizens now. We walk with canes. We can’t walk holding artwork.” It was a gentle but clear rejection.
Still, slowly but surely, people began to support the project—helping with posters, assisting with operations. Each person was a treasure.
Q. It sounds like a miraculous process.
TD. It truly was. What helped me the most was a social media platform called Threads. I shared my vision for Art Runway over and over with passion. Eventually, artists across Japan began taking interest.
In the end, 16 artists from all over the country gathered in Otsu. Despite me having no track record, they trusted me with their works. It was like a dream.
Q. The stage setup in front of the station was impressive.
TD. Laying out a red carpet alone wouldn’t transform Otsu Station into a sacred space. I asked myself: “How can I turn this spot into a temple for artists? How do I make it a stage of blessing?” So I prepared stage elements and displayed artworks as vertical banners.
Q. Did you want to create a local art festival?
TD. At first, yes. But before the May event, I traveled to Dubai in April for World Art Dubai. I had my own solo booth there. That experience changed my thinking. I decided, “Art Runway isn’t just a local project—it’s content to be shared with the world.”
I made the Instagram bilingual. I rewrote the MC scripts in both Japanese and English. I actively looked for English-speaking MCs. I made a clear decision: “Not someday. Right now, from here—we share Art Runway with the world.”
That intention gave birth to our statement: “Connecting artists from around the world through the red carpet.” It became a source of meaning. It was a way to extend the joy I experienced in Dubai—connecting with the world through art—into something eternal.
Q. I see. So much passion and intention behind it. By the way, is that a photo of you?
TD. No, actually that’s a placeholder image I asked GPT to generate. I’ll replace it with a real photo of myself later.
