Born in 1981 in Gunma Prefecture, Japan, and currently based in Tokyo, Yokosaka is active across Japan, Taiwan, and Europe. His practice weaves together nostalgic elements—model kit boxes, weathered stickers, hand-drawn signage—paired with cel animation techniques, constructing uncanny yet familiar visual landscapes suspended between memory and reality. Blending humor, nostalgia, and philosophical inquiry, he uses pop culture as a starting point to explore how we perceive “time” and “seeing,” crafting a distinctive visual grammar that is both playful and profound.

What if the history we see is just one of many?

The title ZENTAI (Japanese for “entirety” or “whole”) poses an imaginative question: When we try to grasp the full picture of the world, are we merely assembling fragments into what we assume is a coherent whole? Deeply inspired by alternate history narratives like Philip K. Dick’s The Man in the High Castle, Yokosaka introduces ideas of parallel timelines and fabricated pasts into his work—where each painting becomes a temporal fissure offering a glimpse into another possible reality.

On Animation as a Way of Seeing
For Yokosaka, anime has never been just “moving pictures.” Traditional cel animation layers static background art with movable cel drawings—figures, objects, or fragments in motion. To trained viewers, this distinction becomes instinctual: Will that tree sway? Will that rock crumble in the next frame? Over time, the ability to read these “layers” creates a sort of panoramic vision—not just seeing more, but seeing deeper, grasping the rhythm and visual syntax beneath the surface.

To Yokosaka, this isn’t merely technical fluency. It’s a dialogue with the image, a method of awakening memory. Since embarking on animation himself, he’s begun to perceive motion as “a matter of frames,” measuring time through fragments of movement. This almost mathematical form of visual awareness mirrors the focus of elite athletes—entering a kind of “Zone,” where even daily life and one’s own existence unfold in units of animated cadence.

Seeing as Participation
Yokosaka invites viewers to experience ZENTAI as if gazing at Earth from the outer reaches of space—stepping back to reconsider how we see. How do we decode emotion within a frame? How do we project memory onto an image?

To view, he suggests, is not simply to receive—but to participate.
ZENTAI becomes a site where time, perception, and meaning are co-constructed—across fragments, layers, and imagined futures.