The works I made at the start of my career rely on the themes of war, atomic power, and outer space.
— Takashi Murakami
For children of my generation, anime was an escape from Japan's loser complex following World War II. Anime wasn't foreign. It was our own.
I stopped worrying about competition in contemporary art. It feels a little bit more pure. That's where I am, one step back.
I don't always enjoy curating, but I do believe it's part of my job. It's a good exercise for my brain, like warming up. Just focusing on my work would be so depressing! For me, curating is necessary - it's like physical training.
I don't think it's an unnatural thing at all for my collaborations or projects to be seen as art but entertainment at the same time.
My own belief is that rather than getting involved in trying to change the reality of social-political things, creators can be involved in and express in different ways and be meaningful in different ways, so for me, it's important to leave messages to people of the future and to be engaged with the people now.
My mum and dad were a little like tiger parents. I hate that, but at the same time, I am a little bit proud.
I've been immersed in manga since I was a kid. I grew up with this culture.
Like many other kids, I liked watching anime.
I actually feel like the phrase 'big in Japan' is not appropriate for me. The reason is that there are more people who sympathize with my practice in America than there are domestically in Japan.
Japanese people accept that art and commerce will be blended; and, in fact, they are surprised by the rigid and pretentious Western hierarchy of 'high art.'
The theme my generation explored was the relationship between capitalism and art.
My Miyoshi studio in Japan is located in the northern part of Saitama, which puts it in quite close proximity to Fukushima. As such, we can feel the effects of radiation.
My father, Fukujuro, drove a cab and my mother, Itsuko, was a homemaker. My parents often took me to see Impressionist exhibits. At home, I would paint pictures in a similar style.
When I was little, my parents belonged to a cult, a big Buddhist sect called Soka Gakkai. I didn't have any particular sentiment for or against religion, but I did feel bad about my parents' poverty and how it made them depend on that cult.
Every day, I have new ideas. It makes my brain tired, so I spend time taking care of company quality, finding new artists, and taking care of the young artists.
In the West, it's just a given that art exists in this high-class place. But in Japan, there's no high class. The minute you come out, you're low class.
If I have a certain opinion, I try to incorporate that into my work.
I'm always very interested in breeding. Raising cacti is breeding. My lotus plant collection is breeding. The insects are breeding.
Manga uses Japanese traditional structures in how to teach the student and to transmit a very direct message. You learn from the teacher by watching from behind his back. The whole teacher-master thing is part of Asian culture, I think.
My parents came from the Kyushu Island in the Southern part of Japan to find work in Tokyo. So we could only afford to live downtown, in a low-income area. It was just by the river, and whenever a typhoon came around, we were under water up to, like, here. That's the kind of place we lived in.
In Japan, I am famous in certain special circles - mainly as someone who is trying to break down and enlighten the conventions of Japanese art.
I always have stress.
I tried to teach myself to draw anime, but I was so bad.
I grew up in a low-income area of Tokyo. Like most homes in Tokyo, ours was small. It was a free-standing, two-family rental duplex built 30 years earlier.
As a young artist in New York, I thought about postwar Japan - the consumer culture and the loose, deboned feeling prevalent in the character and animation culture. Mixing all those up in order to portray Japanese culture and society was my work.
My company, Kaikai Kiki, is unique because it's an art business. I had to find out how to do this by myself.
In Japan, after having lost World War II, the hierarchy that used to exist in the society, from the rich to the poor, has been flattened, especially by the winners, by Americans. As a Japanese artist debuting in America, I really had to bring that kind of theme into the work.
Our family was poor, but my parents gave us money for education.
It's true that I pick up many ideas from different Japanese things.
When I was little, I guess I was just an ordinary kid. But then things changed when I was in junior high. You know, kids that become geeks become one because of something. Like, they aren't good at sports, or girls don't like them. I, too, for some reason, got into things like science fiction and, well, especially science fiction as an escape.
In Japan, I focus mostly on sending messages through Twitter, trying to spread my minority way of thinking.
Rather than a big figure, I guess you could say I'm more of an influential minority symbol.
When I was making my debut as an artist, I felt that it was very important that I try to combine the background of my own culture, my people, and the country into the contemporary art world. So that's how I came up with the term 'superflat.'
