i ♥ art » Lo ♥’s Murakami Party Pt. 2
It seems pointless to paraphrase the splendid musings that Murakami wanders through, video clip after clip, in the online exhibition of the © Murakami retrospective that has been making its way across the globe: LA ››› NYC ››› Frankfurt ››› Bilbao. So, here are some great snippets paired with the paintings that the whimsical artist was examining…
Tan Tan Bo (2001)
“The name came from my favorite comic writer Shigeru Mizuki’s (水木 しげる) manga – very famous comic in Japan”
Flower Matango (2001 – 2006)
“When the flowers laugh we’re all happy. However there’s always the other side, if they laugh too much. Children pick this up right away, that it’s not natural, much more than adults do. For instance, when adults buy something for their children, the boys and girls immediately know why they’ve done it and in this work I wanted to convey to the children of the world that there are places with light and places without light.”
Flower Ball (2002)
“In this work, all the flowers are laughing and I think it’s one of my most representative works. When the flowers laugh we’re all happy. However there’s always the other side, if they laugh too much. Children pick this up right away, that it’s not natural, much more than adults do. For instance, when adults buy something for their children, the boys and girls immediately know why they’ve done it and in this work I wanted to convey to the children of the world that there are places with light and places without light. I wanted this work to be three-dimensional, which is why the ball in the center seems to stick out. I don’t know what the public will make of it.”
Kawaii! Vacances d’Eté (2002)
“We have to smiling… Anytime, every morning… It is hard job!”
Hiropon (1997)
“The male sex complex came from the two-dimensional world, like animation and game, and then transferred to three-dimensional sculptures.”
“When I showing first time in Los Angeles gallery they have a sticker in the entrance: notice, under 12 years old… blah blah blah… so… I was really shocked.”
Jellyfish Eyes (2001)
“[The] title is very difficult to explain in English. This is a very bad joke picked up from old comic books – no one knows maybe – but for me is very important… this cartoon is very central to the nonsense story. So, the jellyfish doesn’t have eyes. Jellyfish eyes. It’s – that means – it’s nonsense.”
DOB in the Strange Forest (1999)
“[During] this period I couldn’t pay for assistants so everybody [was] a volunteer – but … people [who were willing to] try hard – 24 hours [a day] – you know, like, four months each, and then [once everyone finished the sculpture, they all left] my studio. That’s why, when I see this, I remember that sad feeling… “
727 (1996)
“It is Japanese feeling [after the second world war] – like, you know, everything [American] is cool. I love this concept, because [I myself have almost the same] mentality.”
Stew (1995)
“First time I visited New York, and I was really depressing, looks like a big homesick. Why I have to making a painting? Why I came in New York City? Why too much cold in the winter in New York? Everything is confusing – I was… But [a] curator – he really love this piece. Why? This is the young artist playing itself – but basically I’m very embarrassing. What is that? The color and the cheap canvas, the missing away, and a low technique. But it was a reality. Maybe a student can see this piece and have a big confidence. This is good thing I think!”
Inochi (2004)
“He’s a robot and really ugly, but he’s alive!”
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