Quotes of All Topics . Occasions . Authors
I always have stress.
Like many other kids, I liked watching anime.
I tried to teach myself to draw anime, but I was so bad.
It's true that I pick up many ideas from different Japanese things.
If I have a certain opinion, I try to incorporate that into my work.
I've been immersed in manga since I was a kid. I grew up with this culture.
The theme my generation explored was the relationship between capitalism and art.
Rather than a big figure, I guess you could say I'm more of an influential minority symbol.
New York City is still the art capital - every time I'm in New York, I'm thinking about competition.
The works I made at the start of my career rely on the themes of war, atomic power, and outer space.
In Japan, I focus mostly on sending messages through Twitter, trying to spread my minority way of thinking.
My company, Kaikai Kiki, is unique because it's an art business. I had to find out how to do this by myself.
My mum and dad were a little like tiger parents. I hate that, but at the same time, I am a little bit proud.
I stopped worrying about competition in contemporary art. It feels a little bit more pure. That's where I am, one step back.
I'm always very interested in breeding. Raising cacti is breeding. My lotus plant collection is breeding. The insects are breeding.
I don't think it's an unnatural thing at all for my collaborations or projects to be seen as art but entertainment at the same time.
For children of my generation, anime was an escape from Japan's loser complex following World War II. Anime wasn't foreign. It was our own.
In Japan, I am famous in certain special circles - mainly as someone who is trying to break down and enlighten the conventions of Japanese art.
I've been immersed in manga since I was a kid. I grew up with this culture. So I started to think about how to compare manga to contemporary art.
In the West, it's just a given that art exists in this high-class place. But in Japan, there's no high class. The minute you come out, you're low class.
I grew up in a low-income area of Tokyo. Like most homes in Tokyo, ours was small. It was a free-standing, two-family rental duplex built 30 years earlier.
Japanese people accept that art and commerce will be blended; and, in fact, they are surprised by the rigid and pretentious Western hierarchy of 'high art.'
Every day, I have new ideas. It makes my brain tired, so I spend time taking care of company quality, finding new artists, and taking care of the young artists.
My Miyoshi studio in Japan is located in the northern part of Saitama, which puts it in quite close proximity to Fukushima. As such, we can feel the effects of radiation.
My father, Fukujuro, drove a cab and my mother, Itsuko, was a homemaker. My parents often took me to see Impressionist exhibits. At home, I would paint pictures in a similar style.
The way I formed my studio and how I organize things actually came out of the model of the Japanese animation studio and the manga industry. The manga industry is gigantic in Japan.
My aesthetic sense was formed at a young age by what surrounded me: the narrow residential spaces of Japan and the mental escapes from those spaces that took the forms of manga and anime.
I'm very sad to be compared with Warhol and The Factory, because I have no drugs, you know. We have no drug culture in Japan! Maybe it's because our attitude toward labor is totally different.
I actually feel like the phrase 'big in Japan' is not appropriate for me. The reason is that there are more people who sympathize with my practice in America than there are domestically in Japan.
I would like to live to 120, because conceptually, people can survive to 120. Every 20 years, it changes. So maybe, in the next 20 years people can go to space. I don’t know what the next revolution will be. I want to watch.
I don't always enjoy curating, but I do believe it's part of my job. It's a good exercise for my brain, like warming up. Just focusing on my work would be so depressing! For me, curating is necessary - it's like physical training.
Manga uses Japanese traditional structures in how to teach the student and to transmit a very direct message. You learn from the teacher by watching from behind his back. The whole teacher-master thing is part of Asian culture, I think.
When I was little, my parents belonged to a cult, a big Buddhist sect called Soka Gakkai. I didn't have any particular sentiment for or against religion, but I did feel bad about my parents' poverty and how it made them depend on that cult.
I'm always looking for ways to connect myself with American people and that American feeling. I'm trying to pick up on the feeling of places, like the Los Angeles feeling or the New York feeling... Los Angeles is much better for me that way.
When I was making my debut as an artist, I felt that it was very important that I try to combine the background of my own culture, my people, and the country into the contemporary art world. So that's how I came up with the term 'superflat.'
As a young artist in New York, I thought about postwar Japan - the consumer culture and the loose, deboned feeling prevalent in the character and animation culture. Mixing all those up in order to portray Japanese culture and society was my work.
Galleries in the West have probably been looking for exoticism. That's the reason my paintings initially sold well, I think. And then once they started selling, people said my works were very detailed. They may have represented something Japanese to them.
We want to see the newest things. That is because we want to see the future, even if only momentarily. It is the moment in which, even if we don't completely understand what we have glimpsed, we are nonetheless touched by it. This is what we have come to call art.
In Japan, after having lost World War II, the hierarchy that used to exist in the society, from the rich to the poor, has been flattened, especially by the winners, by Americans. As a Japanese artist debuting in America, I really had to bring that kind of theme into the work.
My parents came from the Kyushu Island in the Southern part of Japan to find work in Tokyo. So we could only afford to live downtown, in a low-income area. It was just by the river, and whenever a typhoon came around, we were under water up to, like, here. That's the kind of place we lived in.
My own belief is that rather than getting involved in trying to change the reality of social-political things, creators can be involved in and express in different ways and be meaningful in different ways, so for me, it's important to leave messages to people of the future and to be engaged with the people now.
When I was little, I guess I was just an ordinary kid. But then things changed when I was in junior high. You know, kids that become geeks become one because of something. Like, they aren't good at sports, or girls don't like them. I, too, for some reason, got into things like science fiction and, well, especially science fiction as an escape.
Contemporary art and manga - what is the same about them? Nothing, right? The manga industry has a lot of talented people, but contemporary art works on more of a solitary model. No one embarks on collaboration in contemporary art in order to make money. But in the manga world, everyone is invested in collaboration. The most important point is that the manga industry constantly encourages new creations and creators.
The concept of minimalism is to relax. Like a Zen monk in training, it is something that brings equilibrium to the heart. I don't necessarily think it has any problems, but if I were to force myself to name one, I would say that since the minimalist feeling already includes its own universe, I think it might kill the drive that we would otherwise have to commit the physically impossible and attempt to travel into outer space.