Meet: June Mineyama-Smithson
- Written byGiada Maestra
- Published date 16 July 2025
Share story
Meet June Mineyama-Smithson, also known as MAMIMU. June is an artist and graphic designer dedicated to spreading optimism through vibrant colors and shapes, inspired by the bold patterns and bright hues of her childhood in Tokyo. She graduated with a degree in Graphic & Media Design from the London College of Communication (LCC) and is currently serving as the Unit Lead for the LCC MA Graphic Design (Online) program. Here she shares insights about her positive work and latest projects.
Hi June! Do you want to tell us more about yourself and your background as an artist?
I am an artist and graphic designer, originally from Tokyo. I moved to London to study Graphic and Media Design at London College of Communication (LCC) and never looked back! After spending many moons as a graphic designer in various branding agencies, I started to teach at LCC in various courses. I am currently Unit Lead, MA Graphic Design (Online) at LCC.
I started my art as a self-initiated project to let my creative steam out. Something you can’t do with client projects. I believe self-initiated projects are the best way to invite the kind of project you want. Gradually I’ve got commissioned by ITV and other public art projects like Coventry UK City of Culture and Kensington + Chelsea Art Week. My acrylic collection “Art of Reclaiming Focus” debuted at Clerkenwell Design Week and displayed at Cult Vision near Barbican.
If you could choose 3 words to describe your experience as a student at London College of Communication (LCC), what would they be?
Eye-opening / Tough / Satisfying.
My time as a student at LCC was incredibly special - it laid the foundation for my creative career. I’ve learned an awful lot. Coming from Japan, everything was different. It was amazing to have access to all the workshops and do hands-on metal typesetting, picking up letters from the actual upper and lower cases. The design education at UAL was more concept-led, and if your work wasn’t up to scratch, it was openly discussed - in a constructive way, not a mean, cruel way. Still, I found it tough.
I think I often cried because of the gap between where I was as a designer and where I wanted to be. But that became my drive to improve. In the end, it was a deeply satisfying experience, and I have no regrets. My learning at LCC led me to work at some of the leading agencies, which I’m very happy about.
Also, all the tutors were fantastic. Even after more than 20 years, I’m still in touch with some.
How would you explain your artistic practice to someone?
My mission is to spread optimism through bold colours and shapes. When I was a little girl in Tokyo, I used to go to a nearby bus stop just to say hello to everyone getting off the bus-to make them smile. I want to bring that same feeling to my art, delighting people and giving them a drop of optimism.
To me, optimism isn’t a fluffy, happy-go-lucky idea. It’s more of a belief system. Noam Chomsky said, “Optimism is a strategy for making a better future. Because unless you believe that the future can be better, you are unlikely to step up and take responsibility for making it so.” If we collectively believe the world can be a better place, we can make it happen. I see my art as the starting point of that journey.
Is there a particular project you’d like to discuss with us today?
I’m interested in combining art and science to create “Optimum Optimism” for our wellbeing. My collaboration with neuroscientist Dr Tara Swart for ITV explored how specific colours, shapes, and movement can trigger the brain’s happy hormones. The outcome was aired as a series of idents during Mental Health Awareness Month.
I also hosted a panel discussion titled “Art as Medicine — How have the arts and health sectors evolved to create social wellbeing?” at London Art Fair with Dr Tara and LCC’s own tutor and artist, Dr Charley Peters. It was a fascinating conversation about the growing body of research confirming the powerful role creativity plays in supporting mental wellbeing.
You've been commissioned to create an installation for the Kensington + Chelsea Art Week 2025 called "Electric Catwalk". Can you tell us more about it?
Electric Catwalk is a headline public art project for Kensington + Chelsea Art Week 2025, which I was selected for through the Opportunity Kensington BID open call. The work spans a 60-metre stretch of Kensington Court in West London, transforming the street into a vibrant runway. It’s designed to uplift and energise passersby, inviting them to recharge through joyful colours and playful patterns.
What inspired this project?
The inspiration comes from three visionary moments connected to Kensington: Art Deco’s architectural glamour, the rebellious spirit of Biba’s fashion revolution, and the pioneering brilliance of R.E.B. Crompton, whose blue plaque you’ll find right on Kensington Court, where the installation lives.
Although I initially had the usual “Oh, I really want to make something great but don’t know how to!” - that panicky moment. Once I got past the creative block, I loved weaving these influences into something bespoke to the area.
Many visitors were surprised to learn that Crompton built one of the first electric power stations on that very street. And a few ladies fondly said to me, “I remember Biba!” I’m happy my work can spark that kind of joy and discovery.
What advice would you like to share with fellow creative alumni?
Keep at it. Take a break when it gets too much and then start again. You’ll succeed as long as you don’t quit.
