1935-2019. Born in Tokyo.

In 1944, Cho moved to his father’s hometown, Ashikaga. He started making his artwork in the 1960s, while working for a gas company and hospital.

Since then, Cho has created artworks under specific concepts such as “boundaries and territories,” “revolt of the materials,” and “life and beyond.” Driven by his unique insight, these concepts also include “abyss of the everyday life”, “material abundance”, and “spirit of the subconscious.” In 1968, Cho first exhibited Pickpocket 68, an oversized pocket sewn to the frame of a canvas; and in 1978, Thalamus 1, both of which he continued serially. These are deployed in parallel with his event, Roadwork and performance, Attachment, both conceived through physical actions of his body and continue to influence his art today. After this period, Cho exhibited Hei-Men-Tai (Plane Figure) and River Bed with rigorous consistency. In his new work, Cho refers to Analects of Confucius, in connection with Japan’s oldest school in his resident city, Ashikaga.

Triggered by the birth of his eldest daughter, who was diagnosed with Down Syndrome, Cho has given great consideration to handicapped people, with whom he has organized exhibitions and produced works in collaboration since late 1960s. Through such opportunity, Cho took interest in expression by handicapped people, and has been involved in support actions which occupies an important part of his artist activities.