Futoshi Miyagi confronts his own identity as a sexual minority, and employs a variety of techniques and mediums from photography, to film, objects, text, printed matter, and installation to produce works that bring light to the subtle emotions and thoughts that have been overlooked within history. Throughout his practice, Miyagi has used his literary sensibilities in an attempt to draw parallels between facts and his own memories and imagination. While the emotions that are unearthed as a result, at times, fluctuate and are accompanied by pain and conflict, the artist’s intention lies not in the restoration of idealized memories, but, rather, the pursuit of his own truth. We, as viewers, are indeed reminded that the emotions and thoughts in pursuing such truth are not limited to Miyagi as an individual and his identity as a sexual minority, but are universal emotions and feelings that everyone harbors, regardless of race, nationality, generation, culture, gender, or sexuality.

Based on the theme of the “possibility of an Okinawan man and an American man falling in love in Okinawa,” the American Boyfriend project, which started from personal outputs such as blog entries and mail correspondence and further evolved into video works and installations, is one of Miyagi’s lifeworks for which he continues to curate talk events and group exhibitions that draw ties to his work and thoughts. In parallel to his artistic practice, Miyagi is also a staff member of independent art bookshops, such as Printed Matter (New York) and Utrecht (Tokyo), and serves as co-director for the artist collective XYZcollective. The activities and inspirations that he gains through such ventures play a part in his identity as an artist.

Migagi’s work is included in public collections, including the 21st Century Museum of Contemporary Art, Kanazawa, Japan; Aichi Prefectural Museum of Art, Aichi, Japan; The National Museum of Art, Osaka, Japan; and Mori Art Museum, Tokyo.