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MHAK

October 14, 2017

A person from Aizu ideal for me should have a personality particular to the local area, extremely peculiar not to get along with people in a fake way. I’ve also had such honest relationships, figuratively a flower that bloomed beautifully in my late 20’s.

I personally as one from countryside wanted to do something that could rev up my hometown in projects tied up with local traditional artisans. I believed that to do something together with Japanese local culture was one way as one of the things a Japanese artist is supposed to do. Without saying not to be self-conceited but for mutual benefits. There are things I can do as a person from Aizu born in Aizu; I want to sustain what I don’t want to concede in for long. A person from Aizu ideal for me should have a personality particular to the local area, extremely peculiar not to get along with people in a fake way. First comes a relationship honest as a human being. I’ve also had such honest relationships, figuratively a flower that bloomed beautifully in my late 20’s. With people I’ve kept a relationship with since then, I am still humbly working together. I am very grateful of my parents that bred me born in Aizu and Aizu’s customs for my having been able to nurture the sprit to continually trust people I once began to trust.

When I was working for *Duel, my master’ guidance to exemplify with his attitude without telling much and more importantly his aura were really impressive. Firm belief not to convey with words. For this, I came to be aware of the importance of reading between lines, the parts not told with words or the aerial atmosphere of the spot. Where you have to go easy, you go relax. I figure how to grasp such flow also has formed current me.

I am a type not good at creating 1 out or 0: as I am rather good at making 1 into 2, I think I am more skilled at interpreting and renewing things in my own ways.

I am a type not good at creating 1 out or 0: as I am rather good at making 1 into 2, I think I am more skilled at interpreting and renewing things in my own ways. It is not my creating something by myself but a feeling as recreating what I’ve seen or felt through my own filter. Basically, I do not like works that make people feel that I am good at painting, but the abstract or minimalism appeals far more to me for some reason unknown. While so-called “fashion” differs individually, hard explain, for me balancing by my feeling is important. I look to that only. It still is not that I draw what everyone would perceive as good; it should suffice for me to draw something not really understandable or do something a bit tricky, given that I can sense them as fashionable.

The coexistence with interior is the concept as a whole in the production of my works, starting with making works by myself to be decorated above or suited to, say, a preferred chair. The method I think the best now after having worked for several years is not so-called paint but murals that can be perceived as “space”. Thus, I love interior murals that can control space.

I aspire to “mechanical finishes” that make people wonder if my works are really hand-drawn. The very reason I hate live paint is rooted in the problem of quality. This is because live paint has inevitably a time constraint and man-hours spent on it have to reduced if necessary, which has to eliminate the part = (equal to) quality.

Around me are a lot more of people who ask for such field works than ones who do for canvas works. Moreover, as in Japan there are little space to place such works on or there are fine rules not to drill a hole still persistent, it is rendered hard to purchase a work (art).

Mainly hotels, restaurants or apparel shops ask for field works such as interior mural. Around me are a lot more of people who ask for such field works than ones who do for canvas works. I think “to make a work to sell” is not such a match for me in the first place; and in fact, I usually don’t much. Moreover, as in Japan there are little space to place such works on or there are fine rules not to drill a hole still persistent, it is rendered hard to purchase a work (art). As I am more suited to sending out my products into the world and making interior murals as interior, I will be just intent on them.

In the early 2000’s, I visited toy shows almost every day, when someone who took care of me introduced American toy shops to me. 2000’s was an age when various artists made figure works with the relationship between artists and toys extremely close. Toy shops in Europe and Americas, therefore, were deeply interested in such artists. Then some to which I had handed my *portfolio finally began to accost me. In one toy shop annexed with gallery, I was given a chance to make my show like that. Other gallery-related people coming over to the opening asked me to work for them, too, starting to expand my overseas network.

The first time I opened my one-man exhibitions was when I was still making light of the world in around 2006-2007 (as opposed to what it is). I gave away mine in LABLINE.TV in Kanda Tokyo and in Portland U.S, where my confidence was completely shattered, as to how I hadn’t known what it would take to be an artist or treated myself as a great artist already. I was still childish and hence proud enough to think such and such high price tag should be placed on my work since it had taken so much time. Some said, “if you were famous, we would put such a high price tag, but nobody knows you on our side?” (reality), and “We may put that, but if it doesn’t sell, you are done.”. Then I faced the reality, leaving all of the price setting to them. In the extreme instance, what I had intended to price \300,000 was to be sold at $300 (one tenth!). But for that a lot of my works were sold leading to the next chance: if not, I think I had been really done.

 

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