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Peach Momoko

From EverybodyWiki Bios & Wiki


For other uses of the Japanese feminine given name, see Momoko.
Peach Momoko
桃桃子
BornKumagaya, Saitama Prefecture, Japan
NationalityJapanese
Area(s)Artist
AwardsEisner Award for Best Cover Artist (2021)
Spouse(s)Yo Mutsu (Japanese: 陸奥陽)
https://peachmomoko.com/

Search Peach Momoko on Amazon.

Peach Momoko (桃桃子, peach MoMoKo, Japanese: [mo̞.mo̞.ko̞]) is the pseudonym of a Japanese comic book artist and writer.

Personal life[edit]

Peach Momoko was born in Japan's Saitama Prefecture during the month of February.[1] As a child, she lived in the cities of Kumagaya and Gyōda.[2] Her father had attended photography school and enjoyed painting, and her grandfather was an oil painter.[3]

Momoko began drawing as soon as she was able to hold a crayon.[4] She attended school for video game design, during which time she realized that she wanted a career making illustrations.[3] Devised during her art school years, the Peach Momoko pseudonym was the result of the artist "goofing around" with some of her friends.[5] In 2009, she used the Peach Momoko pseudonym for an exhibition in Japan, and continued to use the name in the summer of 2010 when she moved to Portland, Oregon, in the United States.[6]

Momoko returned to Japan around September 2013.[7] As of June 2021, Momoko was living with her husband and art manager, Yo Mutsu (Japanese: 陸奥陽), and their pet dog, Momo.[8]

Career[edit]

Though claiming that no specific influence inspired her to become an artist, Momoko admits that seeing Atsushi Kaneko's works as a high school student is when she decided to become an illustrator. [9]

In 2008, Momoko was invited to participate in a group gallery exhibition that would take place in America during June of that year.[10] She was hesitant to accept, since she would have to quit her publishing company job to stay in the United States for a month.[10] In 2010, Momoko and her husband, fellow artist Yo Mutsu, collaborated on a live painting mural at the Peoples Art of Portland Gallery.[11] In 2013, Momoko began placing her art on t-shirts, noting that this would be a means for collectors to more affordably purchase her work.[4] In April 2014, Momoko participated in her first European gallery exhibition, the multi-artist showcase "1st NSK Folk Art Biennale: NSK: Past - Present – Future // 1984 – 2014 – 2045" organized by Neue Slowenische Kunst in Leipzig, Germany.[12]

After graduating from art school, Momoko was an editor at a pornographic magazine, and she had uncredited illustrations published in the horoscope section of a 2008 issue of the Sunaipā Eve

(Japanese: スナイパーEve,
Part of a series on
Translation
Types
Theory
Technologies
Localization
Institutional
Related topics
)

femdom magazine.[13] She considers her first published comic book work to be her illustrations for the Winter 2013 and Spring 2014 issues of Girls and Corpses magazine.[14]

In early 2015, Momoko participated in her first Japanese conventions, the manga marketplace Comitia and the art-oriented Artism Market. In October 2015, Momoko had her first exposure to comic conventions when she joined Girls and Corpses’ owner Robert Steven Rhine at Comikaze, where he introduced her to an editor at Heavy Metal.[15] Afterwards, Momoko was invited to participate in Heavy Metal’s 40th-anniversary art exhibition, and met with Grant Morrison and other editors at the magazine who offered to publish short stories written and illustrated by her, resulting in short features which appearing in issues 288 and 290.[16] Momoko has referred to these pieces as "short story sequential pin-up style" art.[17]

In August 2016, Momoko participated in Portland's annual Forest for the Trees public art project, creating a mural at Cider Riot (807 NE Couch Street).[18] In 2017, to commemorate Miyavi's 15th year as a solo artist, Momoko was selected to create an official t-shirt design for the musician.[19] In 2018, Momoko collaborated with lifestyle brand HVYBLK on a t-shirt that was available at that year's Anime Expo.[20] That same year, Momoko created official t-shirts for the Japanese television series Moonlight Mask (月光仮面, Gekkō Kamen) and Red Baron (レッドバロン, Reddo Baron).[21]

In 2018, Momoko created the cover illustration for the German Blu-ray + DVD "Mediabook" release of the Japanese splatter film Kodoku: Meatball Machine.[22] That year, she participated in several fine art gallery exhibitions and conventions, including Armageddon Expo (New Zealand), Chicago Comic & Entertainment Expo (USA), Emerald City Comic Con (USA), Fantasy Basel (Switzerland), Lucca Comics & Games (Italy), Monsterpalooza (USA), New York Comic Con (USA), and Singapore Comic Con (Singapore).[23]

Comic book artist Adi Granov introduced Momoko to Marvel Comics and aided her entrance into the comic book industry.[24] Momoko's first comic book illustration for a major publisher was a variant cover for Marvel Comics' Marvel Rising #1 (March 2019).[25] Momoko contributed eleven illustrations for the base set of the 2019 Upper Deck Flair Marvel trading card series and illustrated the entire 90-card base set of the 2020 Upper Deck Marvel Anime trading card series.[21]

During the COVID-19 pandemic, at a time when Momoko still felt "new to the [comics] industry," she produced upwards of 20 cover illustrations per month, a decision she considers in hindsight to have been "a bit too ambitious" especially as she "started to see people getting annoyed with so many [of her] covers coming out at once."[16]

Momoko's Demon Days series from Marvel Comics creates what the artist refers to as her "Momoko-verse", a place that reimagines the company's superhero characters within the framework of Japanese folktales.[26]

Artistic Style[edit]

Aesthetic[edit]

Her aesthetic has been likened to the bishōjo, or "beautiful girl," cultural phenomenon in Japan, though she uses this imagery to "fuse the power of a girl with her inner madness, weaponry, and propaganda."[27]

Momoko prefers to tell stories involving samurai, Japanese folktales, dreamlike situations, and the real-life problems of adolescents.[16] In her early career, she chose to "only illustrate the females in my artwork," noting how the viewer "can not tell by the expressions if they are dead, or if they are alive".[28] According to an interview in 2014, Momoko envisioned her work in color but executed in black-and-white.[3] She finds excitement in pursuing the balance and contrast between light and shadow in her illustrations.[3] Momoko's works from this period "contain many historical, social[,] and economic symbols and implications about Japan" as, after living in the United States, she wanted to provide "a Japanese perspective on Japanese society."[3]

In June 2015, Momoko stated she was conflicted about if she was an illustrator or a painter, leading her to question "who I am [as an artist], but now I think that's fine".[29] Early in her professional career, Momoko's work was attributed as being inspired by early 20th century Japanese ad design filtered though a dark sense of humor.[30] Her main motifs from this time are noted to be contrasting the images of women and death.[31]

As she continued to work in American comics, her approach to female imagery began to blend different qualities of femininity: "When I try to draw an erotic pose or situation, it ends up becoming more about the confidence and strength of the character, so I guess those qualities are the same in my eyes."[32]

Inspirations[edit]

Momoko has stated that her art is primarily inspired by several genres of Japanese cinema, specifically horror, military, and pink films,[4][24] as well as various styles of music.[3][32] She also draws inspiration from the line work of tattoo artists.[32][33] Since her childhood, she feels she has been strongly influenced by watching Studio Ghibli films.[32]

Prior to living the United States, Momoko valued the style of American comic books and did not appreciate most Japanese styles of art, but changed her views while living outside of Japan.[3] At that time, she began to appreciate Japanese folk art from the 1960s and 1970s.[3] In 2018, Momoko believed that she did "not have a set [art] style" as it could limit her client reach, but she believed herself to be inspired by Japanese nostalgia and ad design from the 1960s to 1980s.[34]

Exhibitions[edit]

Solo[edit]


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