2004 Artist Statement

Q&A (from the Spring 2004 issue of REAR, a quarterly magazine)

Q: Which artists have influenced you or whom do you admire and why?

A: I am not particularly influenced by any individual artist, but am impressed by their individual works, so I will just list the names and elements of their works at random.
　　"The Star-Spangled Banner" by Jasper Johns
　　Jennifer Bartlett's Boat installation
　　Antony Van Dyke's Gloss and Elegance
　　Henry Moore's giant arches
　　Sakuji Yoshimoto's stance as an artist
　　Gustave Courbet's strong and innovative thinking
　　Toshikatsu Endo's relentless and consistent attitude toward art
　　Kodai Nakahara in the 80's
　　Tom Friedman's level of reality
　　Simon Patterson's "Great Bear"
　　Mamoru Oshii's "Tokyo Scan"
　　Pablo Picasso's Age of Classicism
　　Taro Okamoto's "Tower of the Sun"
　　Marcel Duchamp's "Fountain"
　　Gillian Welling's "The 60 Minutes of Silence"
　　A work I saw somewhere that I don't know the artist or the name of the work, etc.

Q: What do you consider the conceptual element in your work?

A: I don't know what conceptual is. I do not define myself as a conceptual artist, so I will answer with the understanding that I am misguided, but if I were to define being conceptual as “making a work based on a shared understanding,” then in my case, I would say that I try to structure the various elements of my work based on as much general understanding as possible. In my case, I pay attention to compose the elements in the composition of my works based on as much common knowledge as possible. In other words, I try to use elements that are known to as many people as possible. At the same time, however, the starting point for the conception of the work is naturally based on my own experience, just as no one can establish a standard of reality without actual experience. There is a gap between the general public's perception and my own, and the sense of roughness (distrust) that arises from this gap is an important element in the creation of my works.

Q: What are your thoughts on conceptualism in art?

A: The diversification and divergence of expression in contemporary art has created a number of new rules that did not exist before. One of those rules is probably conceptualism. However, I think that there are some incomprehensible art forms that abuse these new rules, and that can be seen as deformed children. I am sometimes disturbed by the belief of some people that conceptualism is a privilege, and that works of art that appear vague and obscure (works in which even clues to understanding have been destroyed) hold a deeper artistic sublime. Call me a moron if you will, but I would prefer that art that lacks insight and aims only to give pleasure by touching the folds of the viewer's knowledge be kept under wraps as a toy for those who can share it.