Japanese - Artist | February 1, 1962 -
The theme my generation explored was the relationship between capitalism and art.
Takashi Murakami
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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.'
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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.
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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.'
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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.
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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.
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I've been immersed in manga since I was a kid. I grew up with this culture.
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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.
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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.
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I tried to teach myself to draw anime, but I was so bad.
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The works I made at the start of my career rely on the themes of war, atomic power, and outer space.
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I stopped worrying about competition in contemporary art. It feels a little bit more pure. That's where I am, one step back.
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