Loading...
MHAK Item related to MHAK

MHAK

October 14, 2017

While I have many people in various fields I respect, I’d feel like to state I am on the level playing field whoever shows up. I do respect; but flattering is not a virtue.

As I was from countryside, at first I often felt overly proud or fancy to be in the same production site as someone famous like this or that. While I have many people in various fields I respect, I’d feel like to state I am on the level playing field whoever shows up. I do respect; but flattering is not a virtue.

I think the overwhelming difference between overseas and Japan is the number of chances. Above all, the steps to make a concrete work (project) or to be expanded are taken very quickly there. In extreme, Japan may lack such sense of speed except for top-down approaches. By my experience, it was normal to be told by someone you met for the first time at a bar, “Your work is good! How much could you make up my wall for? Ok, Come over tomorrow!”, in the U.S back then. Furthermore, an appropriate price or reward would be paid. There are many of each chance like that over there, which those striving daily should have a higher possibility to encounter. In Japan, on the other hand, it takes too much to just get known. On the other side of Pacific Ocean, such chances to be known abounded.

While Japan without doubt has got its own way of socializing, the unshakable principle within myself is to advocate for what I believe in (or my ego).

While Japan without doubt has got its own way of socializing, the unshakable principle within myself is to advocate for what I believe in (or my ego). For instance, suppose that when I am to work with a large corporation, there is someone with a stance that “I follow their ways, thanking (not to lose) the deal with them”. Against this, if I can do what I really want to do, there should be no problem; if I feel any doubt about the client’s request to do like that, my stance is rather not to accept. If we can talk to be fully convinced not to feel any different in the final output, that is ok, meaning I won’t simple-mindedly follow such blind orders to do this and that. It is hard to explain, but I am rather obstinate on that (I mean it).

To collaborate as an artist with design in mind while active as a painter should’ve been unthinkable back then, doing which itself was deemed selling out (betrayal) or uncool in that era. For this era, in turn, there should be someone like me, I figure.

I am not so haunted by the idea of being a painter. Most of the things I am offered to do now are to make products in collaboration with brands and makers, in a sense work of a designer’s, aren’t they? To collaborate as an artist with design in mind while active as a painter should’ve been unthinkable back then, doing which itself was deemed selling out (betrayal) or uncool in that era. For this era, in turn, there should be someone like me, I figure. I basically love what I am doing; I at least advocate for my ego in doing whatever I do. Then I try to make relationships for that to be accepted. I think together with them on how to make my work sellable as a product, too, sometimes fraying into a story about cost-benefit analysis or something (business-wise?). This should be my strength compared to other artists. I am good at observing objectively, which such brands and makers agree with.

While I am very grateful of being assigned a task, the possibility for it be a good project is rather slim if assigned just on the ground that mine are now selling well, with the synergy effect also low to bring about little benefit for each other.

For my standard on whether to accept an order, I place importance on whether I can sense the reason why the client has chosen me. Sometimes I ask, “Why me?” (non-business-wise?); if ungrounded, I sometimes say, “Others might do.”. In such cases, often times I can be actually replaced by someone else. While I am very grateful of being assigned a task, the possibility for it be a good project is rather slim if assigned just on the ground that mine are now selling well, with the synergy effect also low to bring about little benefit for each other. Thus, I don’t take. Not reasonable in the first place, isn’t it? If you don’t perform it with someone you love and can trust with passion, that’ll be impolite to the end client, too, after all, phenomena the current world I think is fraught with. If am to cite one strength of mine, it is my being able to see through things objectively. Though it might be perfectly my own egoistic saying, I believe I can make accurate advices, different from “ordinary” artists’, such as one that visually this and that should be added or arranged for this man’s work (practically?). I want to strike out a perfect form; I also love to control whom to be placed where, as a director.

I am strongly attracted to artists who can tackle with their own works very honestly or have feelings that I do not possess. Happening-wise, or a dividing line made intuitively, which is perfect.

I can’t be honest in producing my works. I sometimes want to produce one with my soul fully reflected upon it; even when I grapple with full momentum, I end up correcting and finishing what’s done honestly to be feckless (for good or bad). I do not have any ups-and-downs of my feeling in making my works. Therefore, on the other hand, I am strongly attracted to artists who can tackle with their own works very honestly or have feelings that I do not possess. Happening-wise, or a dividing line made intuitively, which is perfect. “Line and flow” that seemingly are able to be mimicked but can’t be. Along with this pattern, “Jun Inoue” should be the one around me. I am adoring and seeking for such trait within myself, to tell you the truth. But I am not headed for this, for I have to leave this to those good at it while I’ll have to show what only I can do, one after another.

 

Latest Issue