STATEMENT

Though I would consider most of my recent works parodies, they are also an elaboration of the simulation art and appropriation art of the 80s. Therefore, I would not say the work is particularly Avant-garde from the artistic point of view. The sampling and grouping of existing images is an essential step in the process of creating it and I think the most fun and meaningful part of the work is the chemistry it arouses in the viewer, whether it is sympathy or antipathy.

 

 

My current works are mainly focused on the mixing of animation and classic paintings. My take on the two revolves around the gap between the coterie culture of Japanese animation and manga, and the absolute authority that coils around Japan’s traditional art and classic religious paintings. By combining images from these two worlds, both the professionals from the circle of Fine Arts and people familiar with animation and manga can look at my paintings and hopefully understand the mischievous sense of humor I try to convey.

 

 

So where is the originality in my work? I also constantly ask myself this question. Since the images I use are samplings and references, I would say the originality of my work comes from the concepts, techniques and materials employed. The intentional mocking of classical images with the use of modern techniques is rather experimental. For example, to transform the prestigious religious paintings created by the traditional technique of Tempera into manga - like characters or even super alloy robots can sometimes bring about a strong sense of awkwardness to the overall image. But somehow, I find this sense of awkwardness extremely interesting. It is this sometimes frivolous awkwardness that for me, expresses what I consider original.

 

 

I am not trying be a professional animator or a cartoon artist and I am not interested in becoming a master at realistic painting. Maybe what I want is to become someone who stands in a grey zone, who is able to make fun of people from on both sides, like adding thick eyebrows to politician’s posters which we used to do in school when I was young.

 

 

One of the challenging things about simulation art are the copyright issues. In my opinion the recreation or parody created upon an image, must also pay respect to its original source. As parody, it’s central for me to maintain a common visual familiarity while inserting irony and a rebellious spirit into it. So I transform the image, yet I still keep it recognizable. Constantly recording my thoughts and questioning my own works is an opportunity to rethink my current position. Such practice of self - confrontation is also a core part of being a professional artist.