Shoki in Love c. 1768

Editor: So, here we have "Shoki in Love," a c. 1768 woodblock print by Suzuki Harunobu at the Art Institute of Chicago. I’m struck by how playful and a little absurd it feels. The figures seem almost to float on the pale ground. What do you make of it? Curator: Absurd is spot on! I think Harunobu captures a human moment, that feeling when you're being watched. And Shoki, typically a fierce demon queller, is so distracted. He’s almost comically peeking to spy the beautiful bather below and the imp is getting away. The little imp should be his ward to vanquish evil, but no luck today. Does that give you any ideas? Editor: Well, it definitely shifts my understanding of Shoki. I had no idea that his representation could include humor and even...vulnerability. And I see what you mean about being watched – there’s this multi-layered voyeurism happening here. Curator: Exactly! Harunobu takes this traditionally staid subject matter and gives it this very human twist. Ukiyo-e prints could be quite cheeky and even erotic, so subverting expectations in a playful, rather charming way feels authentic. Now, do you feel that sense of narrative thread too? I ask as a little wink at your future writing. Editor: I do now, with your help in spotting Shoki's lovesickness and the demon child ready to seize the day! Curator: To be honest, that demon child might well have his own agenda. Editor: You're right, it makes me think differently about ukiyo-e and the possibilities embedded within it, rather than it being flat, distant cultural material. Curator: Agreed. Art offers an intuitive, imaginative place to reframe traditional and cultural expressions, something deeply personal, yet also shared.