Moeka Hoshi : A Compressive Guide

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Introduction : Moeka Hoshi

Moeka Hoshi, born on May 3, 1985, in Osaka, Japan, is a contemporary artist whose work transcends boundaries of traditional art forms. With a career spanning over two decades, Moeka Hoshi has captivated audiences worldwide with her innovative approach to sculpture and installation art. Her unique blend of meticulous craftsmanship, conceptual depth, and profound emotional resonance has established her as a leading figure in the global art scene.

Early Life and Influences

Growing up in Osaka, Moeka Hoshi was surrounded by a rich tapestry of cultural influences. From a young age, she demonstrated a natural inclination towards creativity and visual expression. Encouraged by her parents, who recognized her artistic talent, Moeka began exploring various art forms, including painting, ceramics, and eventually, sculpture.

Her early exposure to the works of Japanese masters such as Isamu Noguchi and Yayoi Kusama, as well as Western artists like Louise Bourgeois and Anish Kapoor, left a lasting impression on Moeka Hoshi. Their innovative use of materials and profound exploration of form inspired her to push the boundaries of her own artistic practice.

Artistic Development

Moeka Hoshi’s journey as an artist began to crystallize during her studies at the Tokyo University of the Arts. There, under the guidance of esteemed mentors and through rigorous academic training, she honed her technical skills and developed a keen understanding of art theory and conceptualization.

It was during this formative period that Moeka Hoshi started to experiment with sculpture as her primary medium of expression. Her early works, characterized by their intricate detail and meticulous craftsmanship, explored themes of identity, memory, and the human experience. She employed a variety of materials ranging from traditional wood and stone to unconventional mediums like glass and metal, each chosen for their symbolic significance and tactile qualities.

Rise to Prominence

Moeka Hoshi’s breakthrough came in the early 2010s with a series of critically acclaimed exhibitions in Tokyo and New York. Her installation “Celestial Echoes,” showcased at the prestigious Mori Art Museum, garnered widespread acclaim for its immersive blend of light, sound, and sculptural elements. The installation invited viewers to contemplate the interconnectedness of the cosmos and humanity’s place within it, marking Moeka Hoshi as a visionary artist with a unique ability to evoke profound emotional responses.

As her reputation grew, Moeka Hoshi continued to push artistic boundaries with ambitious projects that challenged perceptions and expanded the possibilities of contemporary sculpture. Her work became known for its ability to transform physical spaces into ethereal realms, inviting viewers to engage with art on a sensory and intellectual level.

‘Shōgun’s Moeka Hoshi Was “Hungry” To Play Fuji

COLLIDER: I wanted to start at the beginning — how you were first cast and ultimately joined Shōgun. Did you audition for any other characters? What was that process like for you?

MOEKA HOSHI: When I think about the audition for Fuji, I had a lot of focus and energy. I was hungry for the role, for sure. I’m not sure the greater audience knows, but when you wear a kimono, you can’t just put it on. Most of the time you have to be trained, and the training can take months, or, for us normal Japanese folk, you hire someone to dress you in a kimono. Through my agency, I actually hired someone to dress me properly. I remember it was three scenes that I had to submit for Fuji, and I remember recording from morning until night. I was so exhausted at the end of the day.

As far as other roles, I do remember looking at scenes for Mariko, but, in discussing with everyone else on my team, we weren’t really sure that my English level was appropriate for Mariko. In the end, we ended up submitting my audition for Fuji and not Mariko.

In terms of where Fuji starts as a character, she’s very defined by tragedy through the loss of both her husband and her son. Was it difficult to start from such a low point for her in the story, especially because she has to keep those emotions buried?

HOSHI: I felt like I prepared really well for the role of Fuji. Even when I was in Japan, I had a lot of Zoom sessions with Justin [Marks], the showrunner, just talking about Fuji’s background and such. Actually, Justin told me that I was the first actor to reach out to him, so he was like, “Thank you for being part of the collaborative process.” Thinking back on it, I really felt like I had thorough preparation. Also,it’s a very emotionally exhausting place to be at, but I had the support of everyone around me. So, it was challenging, but I was able to go through it.

My first day on set was literally that scene that everyone has seen, where I’m holding my baby. That day, we were at the point when they were prepping me, and there was something amiss. Production was finally like, “Okay, you need to come to set. We can’t hold it up anymore,” so I went to set. This was my first time in a U.S. context, so I didn’t know if the cameras were rolling, I didn’t know what was going on at all, so I whispered over to Anna Sawai, “Are the cameras rolling?” And she goes in her Anna/Mariko way, “Mhm.” [Laughs] So, I plugged in right away. Obviously, it was great to have Anna there, but it was also my first time working with an intimacy coordinator because there’s a lot going on in that scene, and to be emotionally supported in that way was really, really wonderful.

Moeka Hoshi and Cosmo Jarvis Bonded Through Their ‘Shōgun’ Characters

One of the important relationships that develops throughout the story is Fuji and Blackthorne. How easy was it to find a rapport with Cosmo [Jarvis], especially as we see the characters’ connection evolve and deepen over the season?

HOSHI: Overall, and I think this has to do with Cosmo’s role as Blackthorne, as well, but he was on the shy side, so we didn’t talk much on set, other than when we were in a scene. So, we actually had most of our conversation while working, so to speak. I feel that we were able to enjoy our relationship through our roles. He doesn’t understand Japanese, I don’t understand English as much, but when our eyes connected, I really felt that we knew what we were trying to communicate, and that was such a magical, precious experience that I had on set. I think that Cosmo had the same experience, as well. At one point during shooting, he actually gave me a letter. We didn’t spend time outside of work hours, but at work, we had a very solid connection.

Moeka Hoshi Reflects on Fuji’s Journey in ‘Shōgun’

In terms of the ending for Fuji and her decision to ultimately go and become a nun, it is something she wants at the beginning, but it’s a bit more bittersweet because of her friendship with Blackthorne. How do you feel her outlook has changed by the finale, compared to where she begins in the show?

HOSHI: At the beginning, she’s trying to run away. She’s trying to escape from reality and go and become a nun. But I think throughout her journey, she gets… I wouldn’t quite say the will to live, but the realization that she is obligated to do certain things that are required of her status and position. A societal requirement to find a reason and to find what is next. I remember when Blackthorne says to Fuji that he wants to stay with her. There was a part of me that was like, “Oh, I am leaving him alone.” But,she has a stronger core by the end of her journey.

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