PRINTCatalogue Note:
Deep deep water puddle
Where is this place
How did I come to be here
Looking around the restrictive shallows
The light from the sun glitters on the water’s surface
I walk slowly while submerged in the water
Walking in scattered patterns like the other children
Without passing one another
Keeping a certain distance
Expressionlessly passing by one another
There seems to have been the sound of a helicopter above my head
Regardlessly I continue forward through the shallows
Water cling heavly around my leg
While feeling my own existence
In the deep deep puddle
While having a dream of drowning
- Yoshitomo NARA One of the brightest stars of the international contemporary art scene, Japanese artist Yoshitomo Nara possesses an artistic language that conveys not only murmured musings of self-reflection, but also the spirit of his generation and nostalgia for the objects of the past. And yet his art is closely connected with the subcultures of those past times, and even subcultures that exist today, from “cartoon and comic book culture” to “otaku culture.” Japanese popular art has become a major part of today’s society, gradually expanding and becoming part of mainstream art consumption; it has spread out from Japan to Taiwan, China, and the rest of Asia, as well as to the Americas and Europe, and indeed the whole world. Nara’s almost illustrative style is gradually becoming both fad and focal point for contemporary art. This kind of artistic expression shatters the world’s strict aesthetic standards. What was once merely a part of the Japanese subculture aesthetic is now a focal point for curators worldwide, one that is redefining and displaying a different side of “art.” His art has changed, from catering to the masses to being showcased in art galleries, museums, and important private collections. Such a transition, from niche collector pieces to collections prized by the world, has allowed Nara to step outside of Aichi Providence, even outside of Japan and Asia, and onto the world stage, where he has become an international artist.
“LONELINESS AND DETACHMENT IS WHAT DRIVES ME TO CREATE.” -YOSHITOMO NARA
Before he was born, Yoshitomo Nara’s mother was pregnant with a girl, who was unfortunately stillborn. But his mother kept the name of the girl, “Michi,” for when Yoshitomo was born. To some degree, this influenced his art, as the children in his paintings always carry a sense of neuter. Nara has also given certain of his works the theme “Michi.” As an only child, Nara’s loneliness in his childhood contributed to his quiet, brooding, and reserved personality. Picture books were his playmates during those years. Their visual elements went on to influence his later style. In 1989, Nara left for Germany to study at the Kunstakademie Düsseldorf. A stranger in foreign lands, he became even lonelier in the midst of an alien culture and language. This sense of loneliness and detachment from the outside world became the central idea of Nara’s creations of the late 90s. His works are often portraits of children exuding attitudes of mockery, resistance, a spirit of rebellion, or disdain for the world and its baseness. And although these children’s portraits feature strange, flippant, or pitiful looks, their appearances revolve around a strong self-awareness, a self shrouded in loneliness. The artist also reveals over and again that these cute or sad children’s portraits are actually self-reflections of an uneasy, emotionally turbulent childhood. These real-life feelings of loneliness and detachment also reflect the indifferent present in Japan’s cities and the “otaku” way of life. He depicts these lonely figures as reflection to his inner soliloquy, which just so happen to echo the dilemma of that generation and the confusion of their souls. Like many self-portraits, Nara’s paintings betray an uncompromising spirit and a strong defiance of the outside world. They are pictures of those who have been lost and lonely. While the artist contends with the world by pursuing his true inner self through art, he also communicates with the world, exhibiting the energy of his existence through art, and soothing the wounds of the lonely.
“WITHOUT MUSIC, LIFE WOULD BE A MISTAKE” NIETZSCHE, TWILIGHT OF THE IDOLS
In the works by Yoshitomo Nara, elements from rock music can clearly be seen, such as: electric guitars, drums, and cymbals. These elements can be traced back to his love for rock music during his youth, rock music being a musical form of that generation’s rebellious spirit. Perhaps as a reflection of his lonely and rebellious soul, he combines his most uninhibited indulgence with vigorous rock music. This theme repeatedly appears throughout his works, and is seen as an important source of inspiration. Although his works often find a base in “otaku” aesthetics, the simple lines and flat composition often cause his work to be classified as “Superflat.” However, the artist has strongly rejected the definition as a careless appraisal of his art style. In terms of form and expression, Nara’s techniques do indeed seem similar to the Superflat artists, but unlike in their works, the subjects of Nara’s works never revolve around criticizing the superficiality of current Japanese society, its traditions, art, or culture. Instead he focuses on painting what is important to him, and pursuing a naked yet true self. Another element that has influenced Nara’s work is Ukiyo-e, an art form from 17th-century Japan which depicts the daily lives, scenery, and theater of the time. The works of artists such as: Kitagawa Utamaro, Katsushika Hokusai, and Utagawa Hiroshige often appear in Nara’s paintings.
SOOTHING INJURED SOULS THROUGH CREATIVITY.
Yoshitomo Nara has openly and on many occasions opposed war and nuclear energy. He once created theme about anti-nuclear and anti-war drawings and uploaded them to the Internet for similarminded people to download and share. And he is always somehow involved in humanitarian care. This piece, “Patched Head,” was created for the Fukushima nuclear disaster that occurred as a result of the Tōhoku earthquake and tsunami on March 11th, 2011. With childlike artistic language, simple lines and colors, Nara created a portrait of a girl that contained narrative elements which convey the harm brought about by the disaster. The work features Nara’s trademark portrait of a little girl: childlike cheeks, eyes glancing to the left in slight agitation, teeth clenched as if in accusation, looking as if still shaken by the misery that had just ended. The little girl is floating in water, signifying the tsunami that had just receded. And she is floating alone, the colored patches on her head indicating her past injuries, while the crisscrossing bandages and swirling stars represent new wounds. The artist used his purest intentions to confront the sense of helplessness brought on by the disaster, which shows plainly in this work. Yoshitomo Nara, who once felt “the helplessness of an artist,” conveys here the pain and pity caused by the disaster, provides art that warms people’s hearts, brings his work closer to the public, and gives people hope and spiritual sustenance.
Where is this place
How did I come to be here
Looking around the restrictive shallows
The light from the sun glitters on the water’s surface
I walk slowly while submerged in the water
Walking in scattered patterns like the other children
Without passing one another
Keeping a certain distance
Expressionlessly passing by one another
There seems to have been the sound of a helicopter above my head
Regardlessly I continue forward through the shallows
Water cling heavly around my leg
While feeling my own existence
In the deep deep puddle
While having a dream of drowning
- Yoshitomo NARA One of the brightest stars of the international contemporary art scene, Japanese artist Yoshitomo Nara possesses an artistic language that conveys not only murmured musings of self-reflection, but also the spirit of his generation and nostalgia for the objects of the past. And yet his art is closely connected with the subcultures of those past times, and even subcultures that exist today, from “cartoon and comic book culture” to “otaku culture.” Japanese popular art has become a major part of today’s society, gradually expanding and becoming part of mainstream art consumption; it has spread out from Japan to Taiwan, China, and the rest of Asia, as well as to the Americas and Europe, and indeed the whole world. Nara’s almost illustrative style is gradually becoming both fad and focal point for contemporary art. This kind of artistic expression shatters the world’s strict aesthetic standards. What was once merely a part of the Japanese subculture aesthetic is now a focal point for curators worldwide, one that is redefining and displaying a different side of “art.” His art has changed, from catering to the masses to being showcased in art galleries, museums, and important private collections. Such a transition, from niche collector pieces to collections prized by the world, has allowed Nara to step outside of Aichi Providence, even outside of Japan and Asia, and onto the world stage, where he has become an international artist.
“LONELINESS AND DETACHMENT IS WHAT DRIVES ME TO CREATE.” -YOSHITOMO NARA
Before he was born, Yoshitomo Nara’s mother was pregnant with a girl, who was unfortunately stillborn. But his mother kept the name of the girl, “Michi,” for when Yoshitomo was born. To some degree, this influenced his art, as the children in his paintings always carry a sense of neuter. Nara has also given certain of his works the theme “Michi.” As an only child, Nara’s loneliness in his childhood contributed to his quiet, brooding, and reserved personality. Picture books were his playmates during those years. Their visual elements went on to influence his later style. In 1989, Nara left for Germany to study at the Kunstakademie Düsseldorf. A stranger in foreign lands, he became even lonelier in the midst of an alien culture and language. This sense of loneliness and detachment from the outside world became the central idea of Nara’s creations of the late 90s. His works are often portraits of children exuding attitudes of mockery, resistance, a spirit of rebellion, or disdain for the world and its baseness. And although these children’s portraits feature strange, flippant, or pitiful looks, their appearances revolve around a strong self-awareness, a self shrouded in loneliness. The artist also reveals over and again that these cute or sad children’s portraits are actually self-reflections of an uneasy, emotionally turbulent childhood. These real-life feelings of loneliness and detachment also reflect the indifferent present in Japan’s cities and the “otaku” way of life. He depicts these lonely figures as reflection to his inner soliloquy, which just so happen to echo the dilemma of that generation and the confusion of their souls. Like many self-portraits, Nara’s paintings betray an uncompromising spirit and a strong defiance of the outside world. They are pictures of those who have been lost and lonely. While the artist contends with the world by pursuing his true inner self through art, he also communicates with the world, exhibiting the energy of his existence through art, and soothing the wounds of the lonely.
“WITHOUT MUSIC, LIFE WOULD BE A MISTAKE” NIETZSCHE, TWILIGHT OF THE IDOLS
In the works by Yoshitomo Nara, elements from rock music can clearly be seen, such as: electric guitars, drums, and cymbals. These elements can be traced back to his love for rock music during his youth, rock music being a musical form of that generation’s rebellious spirit. Perhaps as a reflection of his lonely and rebellious soul, he combines his most uninhibited indulgence with vigorous rock music. This theme repeatedly appears throughout his works, and is seen as an important source of inspiration. Although his works often find a base in “otaku” aesthetics, the simple lines and flat composition often cause his work to be classified as “Superflat.” However, the artist has strongly rejected the definition as a careless appraisal of his art style. In terms of form and expression, Nara’s techniques do indeed seem similar to the Superflat artists, but unlike in their works, the subjects of Nara’s works never revolve around criticizing the superficiality of current Japanese society, its traditions, art, or culture. Instead he focuses on painting what is important to him, and pursuing a naked yet true self. Another element that has influenced Nara’s work is Ukiyo-e, an art form from 17th-century Japan which depicts the daily lives, scenery, and theater of the time. The works of artists such as: Kitagawa Utamaro, Katsushika Hokusai, and Utagawa Hiroshige often appear in Nara’s paintings.
SOOTHING INJURED SOULS THROUGH CREATIVITY.
Yoshitomo Nara has openly and on many occasions opposed war and nuclear energy. He once created theme about anti-nuclear and anti-war drawings and uploaded them to the Internet for similarminded people to download and share. And he is always somehow involved in humanitarian care. This piece, “Patched Head,” was created for the Fukushima nuclear disaster that occurred as a result of the Tōhoku earthquake and tsunami on March 11th, 2011. With childlike artistic language, simple lines and colors, Nara created a portrait of a girl that contained narrative elements which convey the harm brought about by the disaster. The work features Nara’s trademark portrait of a little girl: childlike cheeks, eyes glancing to the left in slight agitation, teeth clenched as if in accusation, looking as if still shaken by the misery that had just ended. The little girl is floating in water, signifying the tsunami that had just receded. And she is floating alone, the colored patches on her head indicating her past injuries, while the crisscrossing bandages and swirling stars represent new wounds. The artist used his purest intentions to confront the sense of helplessness brought on by the disaster, which shows plainly in this work. Yoshitomo Nara, who once felt “the helplessness of an artist,” conveys here the pain and pity caused by the disaster, provides art that warms people’s hearts, brings his work closer to the public, and gives people hope and spiritual sustenance.