On the streets of the open air Jinny Street Gallery, the new exhibition One Hundred Views of Edo Konbinis by Tokyo-based illustrator Pavel Sipkin will open on April 11, running until May 9th. Sipkin, through 40 carefully illustrated mini-scrolls, explores a hypothetical scenario where Edo-era traditions and the modern energy of Tokyo coexist in a dynamic rhythm. During the period of the exhibition visitors can also purchase the Jinny Lemon Sour, the gallery’s signature drink, featuring a limited edition label designed by Sipkin himself, at a few local izakayas.
About the exhibtion
What if tradition and modernity could dance together, moving in sync despite their differences? In One Hundred Views of Edo Konbinis, Pavel Sipkin imagines this harmonious yet chaotic fusion through his art. The exhibition presents a visual exploration of how ancient Edo traditions might coexist with the electric energy of contemporary Tokyo.
“The rhythm of ancient tales intertwines with the pulse of neon lights, creating a tapestry where past and present waltz in harmony.”
This “chaotic dance” is reflected in the dynamic pacing of the artworks, where rapid brushstrokes echo the frenetic movement of the city, while more deliberate and controlled elements of traditional art draw on the quiet beauty of the past.
“The old whispers to the new, and the new echoes the old,” Sipkin reflects, presenting a vision where these two worlds not only collide but exist together in a vibrant, ever-evolving rhythm.
Sipkin sees konbinis not just as practical spaces but as symbolic sanctuaries where the past and present meet.
“Konbinis evoke a sense of nostalgia and comfort, a ritualistic embrace in the chaos of urban life.”
These stores, with their narrow aisles and flickering fluorescent lights, might seem simple, yet they hold deeper meanings. They stand as modern-day refuges, where the ancient spirit finds comfort in the embrace of the contemporary. In Sipkin’s work, the aisles of the konbini symbolize life’s pathways, guiding us through the choices we make. The artificial glow of the fluorescent lights serves as a metaphor for the transient nature of existence, a fleeting illumination in the midst of the never-ending city.
“These everyday spaces are bathed in artificial light, yet they symbolize the intersection of eras,” Sipkin reflects.
The konbini, in this sense, becomes more than a place of convenience—it represents how the old and the new can coexist, intertwining the rituals of daily life with the complexities of modern existence.
Reinterpreting Folklore and ancient tales from Edo period
Sipkin reimagines Yokai and characters of Japanese folklore placing them in contemporary urban settings. In his interview talking about ghosts figure in japanese tales he mentions
“In my interpretation, the Yurei might be depicted as a ghostly figure emerging from a busy subway station, with long hair flowing through the crowd.” giving a new interpretation to the usual imaginary of ghosts hidden in the dark forests and hidden places.
In One Hundred Views of Edo Konbini, Sipkin reimagines these old characters into a modern Edo, showing how timeless the emotions of the past folklore still resonates today.
Jinny Street Gallery