Artist Produces Minimalist Artwork from Front Pages of Daily Newspapers

For the artist based in Brooklyn, Sho Shibuya, there is nothing more fulfilling than existing in—and portraying—the here and now. Currently, like in times gone by, the present is tainted by both sorrow and elation, two opposing forces that Shibuya adeptly navigates in his work. This delicate balancing act proves to be remarkably effective, largely due to his selected medium.

For many years, Shibuya has repurposed sheets extracted from The New York Times, turning them into canvases where he douses vivid colors, gradient patterns, and minimalist designs. Both eerie and inspiring headlines enhance the artist’s sharp visuals, each distilling the publication’s leading narratives to their core components.

“I subscribe to The New York Times because I reside in New York and, since its inception in 1851, it has evolved into one of the city’s lasting emblems,” Shibuya shares with My Modern Met. “I aimed to integrate that cultural heritage into my own artistic expression.”

There’s perhaps no better representation of the present than newspapers, which include coverage and reflections on current events. Consequently, it’s hardly surprising that Shibuya was drawn to the New York Times, subsequently engaging with the political, cultural, and global occurrences it reports. Over the past year specifically, Shibuya has crafted striking artworks connected to Zohran Mamdani’s significant victory in New York City’s Democratic primary; a rare meteorological event known as a “roll cloud” that appeared off the coast of Portugal; the persistent famine in Gaza; the passing of Pope Francis; and the controversy surrounding the Epstein documents, which is also among Shibuya’s recent favorites.

“I find pleasure in merging original text with painted visuals,” he notes.

Along with its political nuances, Shibuya’s art also emphasizes an ongoing creative journey. There’s an essence of continuity in the artist’s approach, marked by his daily art production with an almost passionate level of consistency.

“I don’t delve too deeply into why I continue—it simply feels instinctual,” Shibuya articulates. “One reason is evident, however: I genuinely relish the practice. In a sense, it has become my ikigai—a Japanese concept meaning ‘a reason for being,’ or the motive for my daily awakening.”

This drive may be most evident in his Sunrise From a Small Window series, which he began in 2020 during the initial phase of the COVID-19 pandemic. Daily, Shibuya would glance out his window, noting the transformations in the sky, as its various hues transitioned into stunning purples, vibrant oranges, and deep blues.

“Every morning, [I’d] capture the sunrise from my apartment window,” Shibuya recounts. “At that time, the sunrise appeared to be the sole beacon of hope each day. Five years on, I’m still painting them daily. What started as a source of solace has now become integral to my identity.”

Regarding those who engage with his artworks, he recognizes and, above all, values the diverse viewpoints they possess.

“I don’t have a definitive expectation,” he concludes. “Each date, and each sunrise, bears a distinct significance for everyone who observes it.”

To explore more about the artist, check out Sho Shibuya’s website.

For many years, Sho Shibuya has converted pages from The New York Times into breathtaking minimalist creations.