by Clara Wrenfield
Kaidan-Shu: Art Inspired by
Japanese Ghosts and Folklore
David Hochbaum’s Kaidan-Shu project delves deeply into the supernatural tales of Japanese folklore, embracing the eerie, poetic, and the unsettling. Inspired by his personal appreciation for classic and modern Japanese and Korean horror, Hochbaum’s work draws on the richness of traditional yokai stories and the emotive nature of ghostly apparitions. His collection speaks of a world where spirits inhabit the same realm as the living, their presence a haunting whisper throughout each piece.
Am I Pretty?
In 2010, David Hochbaum traveled to Japan with the vision of creating a body of work inspired by kaidan, traditional Japanese ghost stories. Immersed in the culture and mythology, he photographed models and collaborated with local figures, integrating kanji into his pieces to infuse each work with deeper cultural resonance. This blend of photography, painting, and lived experience became the foundation of the Kaidan-Shu series, capturing the haunting atmosphere of Japanese folklore while exploring themes of fear, beauty, and transformation. Over the course of a year, Hochbaum meticulously developed each piece, weaving ancient tales into contemporary form.Presented in his 2011 solo exhibition, Kaidan-Shu marked the culmination of this journey, blurring the lines between reality and the supernatural. The series honors the legacy of Japan’s ghost stories while offering a modern interpretation, inviting viewers into a world where the spirits of the past still linger, quiet yet powerful.
The composition "Am I Pretty?" is a modern take on the well-known tale of Kuchisake-onna, or the “Slit-Mouthed Woman.” In this piece, a woman looks into a mirror with an ambiguous expression, her gesture echoing the same quiet menace of the yokai who asks, "Am I pretty?" The layered backdrop of textured gold washes around her, trapping her between worlds, invoking both beauty and terror. Like the Kuchisake-onna, the work hovers on the edge of fear and desire, the viewer left to contemplate whether the spirit has been wronged or whether she is an agent of her own vengeance.
Bird Of Prey
"If I Cannot Have You" explores themes of desperation and longing, set in a dimly lit room, eerily akin to the homes or prisons of those tormented by spirits. This piece resonates with stories of Onryo, vengeful spirits who often wreak havoc on those who have wronged them. The stark contrast between the blackened shadows and the pale, ghostly figure sprawled on the floor suggests a figure caught between life and death, echoing traditional ghost stories where the emotional imprint left by the deceased haunts the living.
Equally captivating is "Bird of Prey", which parallels the Tengu, a birdlike creature that can either guide or torment, depending on its mood. In this piece, the subject is suspended between vulnerability and strength. Hochbaum uses bright red and gold against her monochromatic figure, an interplay of both the protective and dangerous attributes often associated with the Tengu. With talon-like hands and a gaze that pierces through layers of paint, she embodies the duality between the spiritual guide and menacing trickster.
If I cannot have you
Futakuchi-Onna
In Futakuchi-Onna (the “Two-Mouthed Woman”), Hochbaum channels the myth of a woman cursed with a second, hidden mouth, an eerie embodiment of suppressed hunger and need. The figure’s composed, almost serene expression contrasts sharply with the wild, exaggerated motion of her hair, which has been extended through painted strokes. The flowing strands seem to have a life of their own, hinting at the dark force beneath her calm exterior. Her gaze, steady and haunting, betrays an inner tension, while the hair’s unruly movement brings the hidden curse to the forefront, creating a striking contrast between control and chaos, beauty and horror.
The Kaidan-Shu series bridges the gap between the seen and unseen, drawing viewers into a world where beauty and terror coexist. Hochbaum’s journey to Japan, combined with his deep engagement with traditional ghost stories, informs the layers of meaning within each piece. The process—collaborating with local figures, capturing moments through photography, and integrating painted details—imbues the work with authenticity and depth. The use of kanji, developed in partnership with a friend from Japan, adds further texture, anchoring the series in both cultural specificity and universal themes of longing, fear, and transformation. Each piece is a
reflection of the quiet yet powerful forces
encountered during Hochbaum’s travels,
revealing the hidden spirits that linger beneath
the surface of the human experience.
