Today, an increasing number of companies are incorporating art into their offices. Their motivations vary, from encouraging creative thinking and embracing diversity, to improving workplace environments, boosting employee motivation, strengthening corporate culture, and communicating brand values. At the same time, because artworks possess multifaceted value, some companies may find it difficult to determine how best to select and exhibit artworks within a corporate setting.
We spoke with Mr. ADACHI Shigeki, Representative Director of the advertising agency e-Spirit Inc., about his distinctive initiative themed around “Oshi-katsu,” a term that refers support for one’s favorite people or things. His approach links the company’s mission of discovering and promoting emerging talent through the collection and display of art. In the interview, he shared with us the story behind their office exhibition, how the project was developed, and what values are most important to him in this endeavor.


Office entrance view: KANAZAWA Shoko’s calligraphy Soar on the right-hand wall, a sculptural work by Javier CALLEJA on the counter, KUSAMA Yayoi’s sculpture at the rear center, and a painting by MITOBE Nanae at the rear left. 

“What matters most is that our company’s spirit comes through the art.”
▷What first inspired you to start collecting art?
I have always had a strong interest in interior design. At this point, home renovation could even be considered one of my hobbies. My career in advertising also began from a place of passion. I joined an ad agency straight out of university and eventually went independent. Over the 25 years since I founded my company, and as I have grown older, I started to feel that the enthusiasm I once had was fading. In that somewhat reflective stage of life, art unexpectedly helped fill a void within me.
My first encounter with contemporary art happened by chance, during a visit to a department store with my family. I saw a red glitter print of KUSAMA Yayoi’s pumpkin. As I stood there looking at it, I became completely absorbed. For the first time in my life, I felt something like the folds of my brain shifting. I could not quite explain it, but it was deeply pleasant. I thought, “This is amazing. I would love to own it.” When I asked the price, I was told it was 15 million yen. I had worked hard over the years, so I figured I deserved to treat myself. I was ready to take the leap—until the staff mentioned, “You will earn a lot of points with this purchase!”　That brought me back to my senses. I thought, “If I am getting that many points, maybe I can find it cheaper elsewhere.” My business instincts kicked in, and I began looking for alternatives.
I made an appointment and, two weeks later, stepped into a gallery for the first time. It was a mix of excitement and anxiety. To my surprise, they were hesitant to share the price, and when they finally did, they raised it halfway through our conversation. It was draining, and in the end, I left without buying anything.
As I continued my search for a better option, I eventually discovered SBI Art Auction. It was fascinating to see so many works appear one after another, like a showcase of sweets. At the time, my daughter was very young, and I saw something of her in the works of ROKKAKU Ayako. I placed a bid and won. That was my first auction experience, and I was so excited that I kept bidding far beyond the estimated upper limit. The thrill of the hammer falling was unforgettable, and I soon found myself participating regularly. Bidding online on weekends became a welcome distraction during the pandemic, and I gradually got hooked. I eventually let go of the ROKKAKU piece when my daughter started elementary school, but it sold for more than the original purchase price. That experience taught me that timing matters when selling artworks at auction.


In-office exhibition view featuring a painting by ROKKAKU Ayako. 

▷Was SBI Art Auction your first experience participating in an art auction, which then led to your growing interest in art?
Yes, that is right. Until then, I had never considered buying art, let alone as an asset. I am not the type to do extensive research before taking action. I tend to think while in motion, so I simply purchased pieces I liked.

▷How did you come to start displaying art in your office?
I have always had a sense that a collection gains deeper meaning when built around a coherent concept. We relocated our office last year with the aim of creating a space that was both stimulating and comfortable. Around that same time, the UESHIMA MUSEUM opened nearby in Shibuya. While we are on a completely different level, I thought it would be interesting to create our own version—a small museum focused on portraiture.

▷So, the decision to curate and install the exhibition was led by you and aligned with the timing of the office move?
Exactly. We decided on the new location in December and moved in March. At the time of the move, we did not yet have all the furniture or artwork in place, and it took about six months to complete the space. I have experienced multiple office moves in the past, so I was familiar with the process of shaping a theme into a physical space. Still, this project was particularly challenging since I have never formally studied art. The one thing I have always loved is advertising, which I also studied at university. Professionally, I often review profiles and keep close track of talent trends, to the point that I sometimes feel overwhelmed by it.
When incorporating art into the office, I started by defining a clear concept and storyline. I considered how to integrate the works I already owned into that narrative. Just as the project was taking shape, a pair of blue Shisa (Okinawa Lion) sculpture by Okinawan ceramicist OHMINE Jissei arrived—five years after I first commissioned it. I also happened to own two blue works by KYNE. Since our corporate color is blue, I decided to use it as the base, paired with white, which serves well as a neutral backdrop for artworks. We installed blue carpeting throughout the office and brought in new white sofas to emphasize the blue-and-white color scheme.
I deeply admire Mr. OHMINE and wanted to maintain a connection to Okinawa, which I love. We shaped the entrance carpet like ocean waves to represent the sea. In Okinawan folklore, there is a myth of “Nirai Kanai,” a utopian land that lies across the sea.
I wanted our office to serve as a symbolic gateway to Nirai Kanai —a place where visitors can sense the start of something hopeful.


Portrait artwork by KYNE

A blue-toned portrait by KYNE at center, with blue shisa sculptures by ceramic artist OHMINE Jissei on either side of the sofa.

▷Displaying art in an office not only requires a clear concept and story, but also involves technical planning and installation. How did you handle that part of the process?
I first consulted Mr. HAYASHIDA at SBI Art Auction about the direction for the exhibition. We also worked with professionals who specialize in art installation, which allowed us to execute everything with centimeter-level precision. Even as a novice, I had no issues.
As for the interior renovations, I already had a long-standing relationship with a kitchen remodeling company. Originally, they helped renovate my home kitchen, but I found their work to be meticulous, so I began to request more and more. Because I continued to place orders without interruption, we developed a relationship that allowed for open and detailed communication.

▷Having a reliable partner who you can communicate closely with seems essential. Based on your experience installing artworks in both your home and your office, what were some of the key things you kept in mind throughout each process?
At home, you can simply decorate with what you love, but even that comes with its own challenges. Each room serves a different function, so attention to detail is essential. Portraits may work well in the living room, but they can feel unsettling in the bedroom, so I opted for landscapes or abstracts instead. Choosing artworks for the home might seem like a matter of personal taste, but it was not that simple. I always consulted my family and approached it with care. (laughs)
In the office, however, I was more conscious of the purpose behind the display. In recent years, it has become increasingly important to communicate effectively with all stakeholders. This includes not only our valued external clients, but also our employees and others both inside and outside the company. As part of our stakeholder relations (SR) strategy, I believe that spaces such as the office entrance, reception area, and meeting rooms play a vital role in expressing our company’s purpose and identity.
Spaces such as the office entrance, reception area, and meeting rooms receive many visitors and offer an ideal opportunity to convey the company’s values and identity. In one of our meeting rooms, we have a work by BANKSY that I acquired at an auction for a relatively affordable price. Personally, I am not particularly fond of BANKSY. His work often appears to me as a vehicle for political expression, whereas what I seek in art is not a question of right or wrong, nor of rationale, but rather something that stirs the heart. Still, Banksy is widely recognized and makes for a good conversation starter during recruitment interviews, which is why I’ve chosen to display the piece. When I share this story, people often laugh and say I am being strategic by weighing benefits and making the most of both sides. But in truth, that is exactly how I think about office art. For me, it has to be "twice as rewarding." The first reward lies in branding and PR value. The second comes from its potential as an investment. If it does not offer both, then I do not see the point.


Meeting-room display featuring a work by BANKSY.

"Oshi-katsu” as a Purpose-Driven Message for Stakeholders
▷What does displaying art in the office mean to you?
In the advertising world, it is not uncommon to collaborate with well-known illustrators. These collaborations often come with substantial costs, but the expected PR impact more than justifies the expense. In a similar way, art has investment potential. However, if the objective is purely investment, I feel it misses the point. That would be a waste of what art can truly offer, and it likely would not yield meaningful returns either. Even if the market value of a piece declines somewhat, I weigh that against the PR and branding value it generates. If the overall effect is positive, I consider it worthwhile.
At the same time, some of the artwork in our reception area is worth enough to buy a luxury car. If its value were to drop significantly, I would feel I had let down the employees who work hard every day. Of course, having a stylish office environment can be a source of pride and motivation. But without carefully assessing the overall cost-benefit balance, the whole initiative could end up being seen merely as the president’s personal hobby. When making purchasing decisions, I consider the collection as a whole. I tend to select individual works that seem unlikely to lose significant value. In the future, I think it might be interesting—and even a bit sobering—to disclose both the purchase prices and current valuations of our artworks. It could create a sense of healthy tension and accountability.

▷Your company links the concept of “Oshi-katsu” with your business activities and the collection and the display of artworks. Was that theme or narrative in place from the beginning?
I would not say that I had the term "Oshi-katsu" in mind from the outset, but the connection between advertising and art has always felt natural to me, and I believed from the beginning that incorporating art into the office would be beneficial for the company. Since our work centers around casting, I have always had a strong interest in people. As a result, I found myself collecting mainly portrait-based works without initially realizing it. That said, I could not leave out KUSAMA Yayoi’s pieces. Looking back, my collecting was not particularly strategic. I simply responded to what I liked and what I happened to encounter. Still, even amid that organic process, I began to see my collection as a form of storytelling. I adjusted my acquisitions with the same kind of structure I consider when writing: introduction, development, twist, and conclusion.
Over time, a rough outline of a personal concept began to take shape. When I aligned that with the idea of stakeholder relations, the term "Oshi-katsu" naturally came to mind. In all honesty, it was not a result of reverse engineering toward a specific goal.

▷What kind of reactions have you received to the exhibition?
The response has been overwhelmingly positive. The three most common reactions are: "It is beautiful," "It is impressive," and "Your company must be doing well." I think that last comment sometimes carries a touch of sarcasm, but I decided that standing out matters more. I also feel that framing everything under the broader purpose of "Oshi-katsu" has helped soften any potential negative impressions.

▷Were there any reactions that surprised you?
Feedback from an outside perspective can be incredibly insightful. For example, we display a calligraphy work titled Hishou ("Soar") by KANAZAWA Shoko in our office entrance. The piece is meant to express our hope that young talent will take flight into the world. However, one visitor interpreted it as a company slogan, saying, "So this is about e-Spirit soaring." To clarify the intention, we created a small flyer explaining the background. This experience reminded me how important it is to communicate the meaning behind each work clearly and consistently. That responsibility applies not only to visitors but to all stakeholders, including our employees.


Sculptural work by Javier CALLEJA.


Flyer outlining the objectives and contextual background of the art display.

▷Have you made any changes to the artworks since the initial installation?
While we have switched out a few pieces, we have not made any major changes to the overall layout. I do see value in refreshing the display to keep things engaging, but ultimately, the purpose isn’t the exhibition itself. It’s part of our stakeholder relations strategy. Since our company’s purpose remains the same, future updates will likely center around showcasing emerging talent, almost like tracking the "next break" in real time.

▷As the founder and owner of the company, you are in a position to make these decisions freely. For someone tasked with handling art initiatives at another company, however, determining what to purchase or display might feel like a significant challenge. What are your thoughts on art as an asset? Have you received advice in this area?
I agree that building assets through art comes with challenges. Art is expensive, and its market value can fluctuate. When companies purchase art, it becomes a fixed asset, which can weigh heavily on the balance sheet.
In my case, I consulted a tax accountant. While they could not speak to the artistic value, they offered sound financial guidance. I also spoke with Mr. HAYASHIDA at SBI Art Auction, who provided insights into the art market and valuation.
As some may know, certain artworks are classified as depreciable assets for tax purposes, while others are not. Under the Japanese tax system, most pieces fall into the latter category, meaning they cannot be depreciated and do not produce recurring revenue. This makes it all the more important to approach purchases with financial prudence. On the other hand, unique works by emerging artists are often more affordable and, in some cases, qualify as depreciable assets, which makes them easier to recommend.
From an investment standpoint, it is not that every work by a popular artist increases in value. It is often specific series by popular artists that appreciate over time. To gain this kind of understanding, I believe the first step is to choose works that truly resonate with you and use that to develop a personal axis. Once you understand the gap between your own preferences and market trends, you can identify your collecting tendencies and begin to make more objective assessments. This is a skill I developed through casting work, and it translates surprisingly well to collecting art.
Print editions, in my experience, are more prone to volatility. Personally, I try to acquire them when I can buy works by popular artists at the lower end of the estimate range.
My portfolio is divided into three categories. When it comes to auctions, I strongly prefer participating online. While I attend previews to gather information, I rarely go to auctions in person. Being there in the room can feel distracting and tiring. Instead, I stream auctions on my smartphone while on the go, listening through earphones. I think it is a good way to get a feel for the market, even if you only listen to the audio. I also use a paid app that allows me to view global auction results.
When it comes to discovering the "next break," I actively try to purchase directly. I keep an eye on upcoming events and attend as early as possible, expressing my interest in person. Ultimately, I think it comes down to enthusiasm and determination. But when I realize that this approach mirrors my work life, I cannot help but laugh.
In conclusion, I think building wealth through art is quite difficult. The main reason is that I tend to become emotionally attached to the pieces I purchase, which makes it hard to part with them. From a financial standpoint, I think the ability to let go is essential. The only way to build that skill is through repeated buying and selling, gaining experience until you become more professional and objective. Still, I sometimes worry that the more I approach it like a job, the further I drift from the pure enjoyment of art.

▷It seems that the collection as a whole reflects your company’s values and identity, which is exactly where the true value of incorporating art into the office lies.
Exactly. When a company embraces the idea of supporting the next generation, that message can resonate across industries and generate a strong PR impact. Combined with its potential for asset growth and value as a form of patronage for emerging talent, I see office art as offering　what I call "threefold value."
At our company, the integration of art and "Oshi-katsu" seems to be working well. Art complements our corporate purpose, with the keyword "Oshi-katsu" serves as a bridge between the two. As long as the story holds together, even works by artists not yet established in the market can become meaningful parts of the collection. I believe investing in the next generation is incredibly important.


In-office exhibition view with a work by MITOBE Nanae in the foreground and an artwork by TOMOZAWA Kotao in the background. 

▷Finally, where do you hope to take your "Oshi-katsu" initiative in the future?
I want to continue supporting younger generations. The world is becoming more complex, and climate change is accelerating. It is no wonder that many young people feel uncertain about what lies ahead.
Thanks to advances in public health, medical care, and preventative medicine, we are entering an era of 100-year lifespans. That means life will be longer, and retirement will be longer too. More than ever, we need realistic and thoughtful life planning.
Our work in casting is often seen as the act of "selecting" people, but I have come to believe that it is about discovering each individual’s strengths. No matter who the other person is, the key is to listen carefully and stay close. One of the unexpected benefits of casting has been the ability to help nurture people. I want to make it my life’s work to think alongside younger generations about how to live—or in today’s terms, how to shape their life and career paths.
Art has become something irreplaceable for me. I have deep respect for all the artists who pour their hearts and souls into their work. I am also sincerely grateful to everyone at SBI Art Auction who introduced me to this extraordinary world of art.

About the Interviewee

Mr. ADACHI Shigeki with KANAZWA Shoko’s calligraphy Soar.

ADACHI Shigeki (b. 1968) studied marketing at Portland State University after graduating from high school in Japan and studying abroad in the United States. He began his career at Hakuhodo Inc. and founded e-Spirit Inc. in 2000. He is known for introducing a systematic casting model based on U.S. practices, building e-Spirit into Japan’s largest independent casting agency. In 2024, his book Casting drives business success was published and reached No. 1 in the business category at Kinokuniya Bookstore. Outside of advertising, he served for many years as publicist for the author WATANABE Junichi. www.e-spirit.jp