The story of Akimitsu Tomonaga, an artist, begins in 1967, during the post-war era when Japanese airlines had yet to establish flights to Australia. One day, a friend working at a television station handed him a flyer about a unique opportunity—a film production company in Australia was seeking a designer to create characters for a movie centered on the Aboriginal people. It was said that over 500 applications poured in from across the globe.

“I never thought I’d have a chance to go overseas, but I decided to apply anyway. Two months later, I was shocked to receive an invitation to meet the director,” recalls Akimitsu. During the interview, he was given a script by director Peter Scriven. Akimitsu not only sketched characters, but he also sculpted ten sample paper-mâché heads for puppets. It was his combination of creativity and craftsmanship won him the opportunity to work in Australia.

In 1968, with the exchange rate at 360 yen to the US dollar, Japan was still grappling with the remnants of the war. When Akimitsu returned home before departing once again for Australia, neighbors bid him farewell with the solemn words, “Come back alive.” He and a scriptwriter friend set off for Australia by ship. Upon arriving in Brisbane, Akimitsu was struck by the country’s breathtaking beauty. “It was November in Japan, but in Brisbane, it was spring turning to summer. Compared to the drab Japanese cities of that time, the vibrancy left a deep impression on me.” 

Living in Scriven’s home and sharing it with his friend, Akimitsu dedicated himself to crafting papier-mâché puppets under the guidance of Russian marionette artist Igor Hychka. Although the film was never completed, this period marked the beginning of Akimitsu’s professional journey. He joined the National Puppet Theatre and later contributed to the Japan World Exposition Osaka 1970 by creating puppets for its exhibitions.

Boundless Freedom and Eroticism

In 1970, Akimitsu returned to Japan and embarked on a multifaceted career spanning solo exhibitions, films, stage productions, and television. Over the decades, his work has been driven by a singular philosophy. “There are countless ways to express oneself. Whether it’s puppets, sculptures, prints, or directing theater, the core remains the same. I don’t believe in confining myself to a single medium,” he says. This perspective, rooted in his Australian experience, has guided his career. “Peter Scriven told me, ‘A creator must be free. You should never let yourself be boxed in.’ That idea has shaped how I approach my work. In Japan at the time, mastering a single path was considered ideal. In contrast, Australia encouraged exploration and freedom in creativity.”

This principle of embracing diversity in art and life continues to resonate in Akimitsu’s work—a legacy of freedom, passion, and boundless imagination inspired by an extraordinary journey.

In the fall of last year, Japan Broadcasting Corporation (NHK) began re-airing The Tale of Prin Prin a beloved puppet drama first broadcast between 1979 and 1982. This iconic series is widely regarded as one of Akimitsu’s signature works.

“I got the job for The Tale of Prin Prin when I was 33, and it kept me busy until I was 37. Those four years were some of the most demanding of my career. Each character had to be ready for rehearsal on schedule, so I naturally became much faster at my work,” Akimitsu reflects. During the busiest periods, he completed up to 20 pieces in just ten days, producing around 500 characters over three years. The primary material was wood, and carving was second nature to him, thanks to his childhood hobbies.

“At first, I had eight assistants, but by the second year, it was down to three—all young women who had graduated from art schools. None of them had prior experience in TV or puppetry, and that worked in our favor. Professionals might cut corners, thinking, ‘This won’t be visible on screen.’ But my team took my designs and elevated them, crafting every unseen detail with care. TV work is a collaborative effort, and talented assistants are essential.”

Through his interactions with directors and staff, Akimitsu gained invaluable creative insights. The freedom to experiment and challenge conventions during this project would profoundly influence his later career. In 1979, while working on The Tale of Prin Prin, Akimitsu also lectured at Kyoto City University of Arts and a women’s art university located in Tokyo on a unique theme: “The Eroticism of Dolls.” His exploration of this theme was deeply rooted in his sculptures of the female nude, showcased in his exhibitions.

“Eroticism, as I see it, is different from pornography. I aim for what I call ‘clean eroticism’—refined, elevated, and sophisticated something that won’t make viewers uncomfortable. That’s the kind of beauty I strive for.”  This philosophy influenced his designs for The Tale of Prin Prin. Although a children’s TV show, he believed that incorporating subtle elements of elegance and allure added depth to his creations.

One of Akimitsu’s current projects is The Sacred Maiden at 80, a blend of sculpture and printmaking that revisits themes he explored decades ago. This series examines his artistic evolution while seeking to capture the essence of beauty. “No matter how old we grow, a youthful spirit stays alive within. Expressing that through art, however, is incredibly challenging. It’s not just about physical beauty but the purity, transparency, and occasional innocence that radiates from within,” he explains.

In 1998, the renowned Japanese photographer Shōtarō Akiyama, captivated by Akimitsu’s work, published Sacred Maiden Fantasia: The Art of Akimitsu Tomonaga. This collection celebrated his sculptures and their timeless appeal.

“Decades ago, I created pieces that reflected who I was then. Now, I want to see how my work has evolved—whether it’s better or worse, I can’t know until I’ve made it. That element of the unknown is what makes it exciting,” he says. Akimitsu’s fascination with the elegance of feminine curves traces back to his time in Australia, where he witnessed ballet and opera rehearsals. “The beauty of the female form, especially in motion, left a lasting impression on me. Those memories continue to inspire my work today.”

For Akimitsu, his art is a lifelong pursuit—a journey into beauty that defies the limitations of age, convention, and medium.

Life’s Two-thirds for Imagination, One-third for Dedication

Akimitsu believes that creativity and craftsmanship require both a playful spirit and mental leeway. He describes his philosophy as dedicating two-thirds of his time to free thinking and one-third to intense work, a balance that creates the “space” and “freedom” essential to his creative process.

“When I was working on The Tale of Prin Prin, my schedule was so packed that I had no room to think about anything else. A painter once told me, ‘Even if you’re poor, creators must carry themselves like aristocrats. You need to hold onto this mindset.’ It was then I realized the importance of having unstructured time to think freely.”

“The idea of working within one-third of your time hinges on how quickly you can create. For example, completing in three or four months what others might take a year to finish. I’ve heard stories about Picasso painting two pieces in a single day—that’s the kind of momentum you need.”　

“To achieve that kind of speed, you need decisiveness—to move forward without hesitation. That’s why constantly honing your skills is vital. My experience working in television sharpened my ability to deliver results within strict time constraints.”

A panel displayed at Akimitsu’s museum, the Fukasawa Tiny Art Museum, features an interview he gave over 20 years ago, highlighting his humility and distinctive approach to creativity: 

“To build a world that’s uniquely your own, even little by little. A world that no one else can imitate. It’s about shaping your own knowledge into tangible forms. Every person has the ability to create. We all carry the raw materials for creation within us, but life sometimes forces us to abandon those parts of ourselves due to lack of opportunities or the need to survive. The real question is whether you can hold onto the dreams you had as a child. One of my works features a fish wearing geta sandals, a traditional Japanese wooden footwear. It was inspired by a childhood thought: ‘Why don’t fish walk?’ That innocent wonder became the foundation of my creation.”

“I wouldn’t say I love creating, but I don’t dislike it either. It just so happened that crafting became my profession. Hard work doesn’t guarantee success—it’s a lot like a lottery. A gallery owner once told me, ‘There are many people who can paint well, but very few who create great works.’ I’m neither exceptionally skilled nor particularly talented. There are plenty of people who can craft more beautifully than I can. The value of a piece lies in what viewers or collectors perceive. As the creator, I don’t focus much on that aspect. Of course, I have things I want to make, but beyond that, I just keep my hands moving without overthinking.”

About Akiruno 

Akiruno is located in the western part of Tokyo. The eastern part of Akiruno is a plain surrounded by gentle hills, while the western part features mountainous areas that are part of Okutama. The area once thrived on forestry and silk spinning, and the remnants of those days are shown in the old kominka that are still in existence, a testament to the history and culture of those times. The rich natural environment, exemplified by the Akikawa Valley, attracts enthusiasts of fishing, camping, hiking, and trail running. It is known as a place where the convenience of urban life can be combined with the pleasures of rural living.