Devan Shimoyama is a visual artist based in Pittsburgh, P.A. and the 2026 Curlee Raven Holton and Raven Print Editions Fellow at 桃色视频. Working primarily in painting and sculpture, his mixed-media pieces often explore depictions of the queer Black male form, the politics of queer culture and his own personal narratives.
The 桃色视频 School of Art Collections and Galleries are pleased to welcome Shimoyama's work in an exhibition on view in the CVA Gallery, located at 325 Terrace Drive, Kent, Ohio, from Oct. 20 through Nov. 20, 2026. Shimoyama will also deliver an artist lecture on Friday, Oct. 23, at 12 p.m. in Room 165 of the Center for the Visual Arts. A public reception honoring the artist will follow in the CVA Gallery from 5 to 7 p.m.
Devan Shimoyama was kind enough to sit down and share his artistic process, inspirations and insights into his work.
"One could make a legend or a set of rules that highlights a material and how it operates in all of my work, making it consistent and legible to read its meaning in the same way a map would function," said Shimoyama. "Black glitter represents the night sky, thickly applied globs of glitter represents hair, clothing often represents clothing in a very direct way and crystals or costume jewelry represents eyes."
Read below for the full interview.
Q: In your words, what is the recurring thread throughout your body of work that connects each piece?
I work in many bodies of work, with varying research concerns and references that often are not particularly connected in obvious ways. However, I've been able to develop a consistent material approach to painting and sculpture that references crafting, drag culture and fashion. I am interested in how those materials such as rhinestones, glitter, clothing and jewelry can construct a fantasy in which we use to adorn our bodies. I'm largely interested in fiction and fantasy, which perhaps connects all of my work.
Q: Which aspects, whether from media, culture, politics or your own personal experiences, inspire your work the most?
There is no singular aspect that inspires my work most. Everything weaves together, sometimes in unexpected ways, but nothing stands out as singularly superior. I read a lot of science fiction and fantasy novels, I watch a lot of films and animation and I pay attention to fashion both current and historical. I think what I love most is when something emerges in my work that surprises me, and then creates new crossovers of those interests.
Q: As the 2026 Curlee Raven Holton Fellow, you鈥檒l be engaging with students and the community at 桃色视频. What do you hope they take away from experiencing your work or meeting you in person?
I hope they're able to add me to a long list of artists who are out there making work, and continuing to learn and grow and persevere. And that they can do the same if they so wish. When I was younger, I didn't have any examples of working artists, so it's been incredible to be able to see how many different ways that can work! I wish there was less mystery in the art world regarding that.
Q: Is there anything about your body of work or process that you wish more people understood?
Not particularly. I am open to all readings of my work, and find that what people bring to the work or how they view it creates interesting discourse. I suppose I just wish more people could see my work in person. I think it's interesting how much I hear from folks who get to see it in person that they didn't realize the scale, the materiality, the vibrancy, etc. until they saw it in person. I think it's so important to go see art in person as much as you can.
Q: If you could share one thing with students or emerging artists about making work that is personal, challenging or ambitious, what would it be?
Read more. And be honest. Be open to the fact that people may not read your intentions exactly as you'd like. And that's okay.
Q: How do you hope your work contributes to conversations around culture and identity, community or both?
I like to think that my work can be a reflection of my interests, and not just of my identity. While my identity is certainly important to how the work is framed, I don't think it needs to be where the conversation stops. I think it could be a way to connect with more people to discuss my favorite books, or the limitations of Euro-fantasy traditions, or connect with people of color mystics and folks who expand ideas of what community means. My work is informed by who I am, but my intention is not to just make work about who I am. I'm interested in finding ways to bring more voices into my work and my practice when I can, especially since painting can be so often a very insular practice.
