在我心目中永遠最偉大的藝術家陶山老師
還記得7年前我開始抱著吉他唱cover
收到老師留言發給我的信 真的很不可思議
那時候我在馬來西亞還有三年的高中要唸
不過我知道我只要努力考上台灣的大學 我就能來和老師做音樂了
熬了三年終於能來台灣做音樂了 很開心的是老師沒有忘記我
見到他並完成的第一首歌 在2013年就是你夠了沒
接下來的故事 就要銜接到老師的故事了
我對這些作品都有滿滿的使命感和愛
我嘗試去比賽上節目不為了什麼只為了能讓它們被聽見
但未發行始終無法讓歌曲傳得更遠
從萬分的不願意割捨 到時間久了釋懷也許真的該把它們賣了吧
這是在我心裡這些年來 作為一個音樂人不能捍衛自己作品的遺憾
今年奇蹟發生了
在電腦裡放了4年的歌 終於有它們的歸處
9月20日 你夠了沒 用原demo名字 無色憂傷正式發行
www.SKRpresents.com 上線了!
(English below) 網站上不單有昨天分享的免費卡拉帶,也有陶山老師精心寫的博客,希望可以和大家貢獻他的音樂世界:
在我專職做音樂的這15年裡,我最怕的一件事就是音樂會變成只是工作,我怕我會失去當初那個愛上音樂的男孩 - 在車庫和朋友練團,一起寫歌,學著如何錄音,最棒之處就是聽著我們剛剛創作出來的音樂,感受到音樂帶給我的魔力。這個魔力也是我後來專職做音樂工作後一直努力想保護的,是我對音樂最純粹的愛與熱情。
每一次寫歌,每一次錄vocal,每一次編曲,製作或混音,每一個case,我都要能感受到這個魔力!愛上這個歌曲,愛上這個我們一起創造的音樂;有時候如果我已經愛上了一首歌,它變成我的寶貝,然後合作對象想要改變它,或是我覺得這個case會變成只是工作而失去魔力,我就會讓他們知道我的理由然後推掉這個工作;非常不好合作,非常藝術家我知道,但是這是我唯一能保護我對音樂的愛的方法。
所以在我沒有接工作的時候,我最好的充電方法就是在網路上搜尋我有感覺的聲音,燃起我創作靈感的聲音,有時候是他們翻唱我的曲子,有時候是朋友發現介紹給我...... 只要我聽到感動我的聲音,我就會主動聯絡他們,問他們願不願意和我一起做一些好玩的音樂。 就這樣我用這種方法玩音樂已經超過五年了,一開始我很不聰明,我會和這些很棒的歌手們做出很多首歌曲,但是全部都只留在我們的電腦裡沒有發出;我們試過自己拍過MV,上傳在網路上,但是因為沒有正式發行管道發行歌曲,這些音樂沒有辦法得到任何收入,也不可能一直投錢,我們發現找不到平衡,也還找不到長遠的作法就先停止了。
就這樣週、月、年過去,有些歌手會拿著我們創作的作品去找經紀或唱片的機會,或是我們在雙方的同意下把歌曲賣給其他人;有些歌曲仍然被困在我的電腦裡;有些歌曲發行了,成績也不錯....... 但在我心裡我知道,我還沒找到一個完美對待這些歌曲的方式,我的夢想裡完美的狀態是我們能自在的創作有魔力的音樂,在它還有魔力的時候分享與發行它。
SKR這個點子就在這樣許多不完美的嘗試中開始了,我繼續找著我有感覺的聲音,在最自由最有熱情的時候做出我們都喜歡的音樂,就像小時候做音樂一樣,沒有合約,沒有束縛,一起做音樂只因為我們喜歡一起做音樂的感覺,哪天我們合作沒有感覺了,就握手道別祝福彼此走向新的旅程。
而非常幸運的,在去年年底,在Union-Square(前KK Farm)的幫忙下SKR的發行管道終於正式成立了。 有了正式的發行管道,之前被困在我的電腦裡的音樂現在都可以發行了,之後我們在熱情下做出的音樂也都可以馬上發行,發行的收入再合理地分配給所有幫助這個音樂和影像完成的朋友們;如果市場迴響好,大家一起得利;若市場迴響不如預期也沒關係,因為我們享受了這整個創作的過程,對我來說這是最好的酬勞!
再來就是我另外一個瘋狂的點子, 因為SKR是我音樂上的遊樂場,一個我可以實驗性玩的地方。 所以我,再次藝術家式的,直覺的,強烈的決定要分享歌曲裡的我彈的樂器的分軌檔案; 對我來說,我想分享一首歌形成的過程,我也想知道有什麼創意的方法能從我分享的這些檔案裡延伸出去; 也許最簡單的唱一首cover,也許DJ能很酷地拿走我的吉他混進另一首歌裡,也許不會彈樂器卻有豐富創作能量的人能用我的音樂寫出一首全新的旋律,也許樂團能拿著這些stems表演live,有或者有人對編曲很有興趣,那他也許可以從我的編曲裡得到他想要的資訊..... 我不知道,我不知道未來的世界音樂會是什麼樣子, 但是我永遠記得那個愛上音樂帶給他神奇魔力的小男孩; 在音樂上分享我現在所知道的,如果這些分享能帶給任何一個現在對音樂有興趣的人幫助,那SKR就已經成功了!
www.SKRpresents.com is now live!
Visit the website for some freebie instrumentals and stems, as well as having the opportunity to read Skot's blog; so much behind the scenes, advices, anecdotes... here's a sample of what's on!
(Skot原文如下)
For the past 15 years that I’ve been making music professionally, the thing that I’m most scared of is this: that making music will feel like work. I’m afraid I’ll lose the innocence and passion that I had when I was a boy. Playing in a band with my best friends, writing songs together, learning how to record, and the best part of all, listening back to the music we created. This magical feeling I get when making music is the most important part, and I always need to protect it. I want to feel this magic feeling every time I write a song, work with an artist, do an arrangement, or produce or mix a song. If an artist wants to drastically change a song that I’ve already fallen in love with, or the client wants me to work in a way where it will feel like work, I’ll reject the case. I know I’m very difficult to work with, and a bit of an artist myself, but this is the only way I can keep my love for making music.
When I’m not doing paid jobs, the best way for me to recharge is to find new and exciting voices to work with. Sometimes I discover people when they cover my songs, and send it to me, sometimes friends will recommend great singers they’ve discovered, etc. I always reach out to singers that move me, and ask if they want to come over and make music together. I’ve been doing this for over 5 years now. And in the beginning, I wasn’t smart about it. I’d make SO many songs with these amazing singers I found online, but the songs would end up just sitting on my computer with no way out. So then we started shooting our own music videos and releasing them on YouTube. But we had no way of ‘officially’ releasing these songs. So we had no money coming in, and we couldn’t continue making music videos for all the songs still stuck in my computer. Days turned to weeks, turned to years, and everyone had to move on. The singers would sign with a manager, or a record company, or maybe we’d agree to sell the songs to someone else, etc. Some of these trapped songs have come out already, some of these songs were even hits, but still.. I wanted a way to create a song with an amazing singer, shoot an MV and be able to release it right away. That’s been my dream for a while now.
That’s how SKR started. I want to keep finding new talent to work with, and make music that inspires me, that keeps me awake at night, like how I used feel growing up. And I want the music to be pure. No money, no contracts, no commitments. Just make music because I love the feeling of making music. And people can come and go as they please. And I’m so lucky that the end of last year, we officially launched SKR with the help of Union Square (formerly Kkfarm). So I have an official way of releasing those old songs that have been stuck in my computer. And if there’s any income, we can divide it among everyone that helped bring the song out of my computer and into the world. When a singer and I make a new song, we can shoot an MV right away and release it while we all still feel the fire from what we created. If the market likes what we’re doing, then everyone who helped out on this song will benefit. If the song totally flops, we’ll still be happy that we created something we’re proud of and had the ability to put it out. There’s no regrets. Because the process of creating music is the best payment we can ever receive.
Which brings me to my craziest idea. SKR is a musical playground for me. Somewhere where we can try things that haven’t been done before. I don’t know exactly why, but I have a very strong feeling to release the instrumentals and the stems of the songs I’ve done for SKR. I don’t know what will happen when I do this. But I’m really looking forward and curious to see what will be created from this. Maybe a DJ will remix some of my guitar tracks into something super cool. Maybe it will give a chance to people who can write great melodies, but don’t play an instrument. They can sing their own melodies over my instrumentals. Singers who love to cover songs, but don’t play an instrument, can download these instrumentals and easily do a cover now. Even bands can download the stems to perform any of these songs live. Or maybe it will help people who are interested in learning how to do arrangements hear more clearly how I put these tracks together. I don’t know. I don’t know what will happen to the music industry in the future either. But I always remember that magical feeling I had as a kid, falling in love with making music. And if these instrumentals or stems can inspire someone else musically, then SKR is already a success.
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- 關於best old english love songs 在 王艷薇 Evangeline Facebook 的最讚貼文
- 關於best old english love songs 在 SKRpresents 陶山音樂 Facebook 的精選貼文
- 關於best old english love songs 在 YOSHITOMO NARA Facebook 的最讚貼文
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best old english love songs 在 SKRpresents 陶山音樂 Facebook 的精選貼文
www.SKRpresents.com 上線了!
(English below) 網站上不單有昨天分享的免費卡拉帶,也有陶山老師精心寫的博客,希望可以和大家貢獻他的音樂世界:
在我專職做音樂的這15年裡,我最怕的一件事就是音樂會變成只是工作,我怕我會失去當初那個愛上音樂的男孩 - 在車庫和朋友練團,一起寫歌,學著如何錄音,最棒之處就是聽著我們剛剛創作出來的音樂,感受到音樂帶給我的魔力。這個魔力也是我後來專職做音樂工作後一直努力想保護的,是我對音樂最純粹的愛與熱情。
每一次寫歌,每一次錄vocal,每一次編曲,製作或混音,每一個case,我都要能感受到這個魔力!愛上這個歌曲,愛上這個我們一起創造的音樂;有時候如果我已經愛上了一首歌,它變成我的寶貝,然後合作對象想要改變它,或是我覺得這個case會變成只是工作而失去魔力,我就會讓他們知道我的理由然後推掉這個工作;非常不好合作,非常藝術家我知道,但是這是我唯一能保護我對音樂的愛的方法。
所以在我沒有接工作的時候,我最好的充電方法就是在網路上搜尋我有感覺的聲音,燃起我創作靈感的聲音,有時候是他們翻唱我的曲子,有時候是朋友發現介紹給我...... 只要我聽到感動我的聲音,我就會主動聯絡他們,問他們願不願意和我一起做一些好玩的音樂。 就這樣我用這種方法玩音樂已經超過五年了,一開始我很不聰明,我會和這些很棒的歌手們做出很多首歌曲,但是全部都只留在我們的電腦裡沒有發出;我們試過自己拍過MV,上傳在網路上,但是因為沒有正式發行管道發行歌曲,這些音樂沒有辦法得到任何收入,也不可能一直投錢,我們發現找不到平衡,也還找不到長遠的作法就先停止了。
就這樣週、月、年過去,有些歌手會拿著我們創作的作品去找經紀或唱片的機會,或是我們在雙方的同意下把歌曲賣給其他人;有些歌曲仍然被困在我的電腦裡;有些歌曲發行了,成績也不錯....... 但在我心裡我知道,我還沒找到一個完美對待這些歌曲的方式,我的夢想裡完美的狀態是我們能自在的創作有魔力的音樂,在它還有魔力的時候分享與發行它。
SKR這個點子就在這樣許多不完美的嘗試中開始了,我繼續找著我有感覺的聲音,在最自由最有熱情的時候做出我們都喜歡的音樂,就像小時候做音樂一樣,沒有合約,沒有束縛,一起做音樂只因為我們喜歡一起做音樂的感覺,哪天我們合作沒有感覺了,就握手道別祝福彼此走向新的旅程。
而非常幸運的,在去年年底,在Union-Square(前KK Farm)的幫忙下SKR的發行管道終於正式成立了。 有了正式的發行管道,之前被困在我的電腦裡的音樂現在都可以發行了,之後我們在熱情下做出的音樂也都可以馬上發行,發行的收入再合理地分配給所有幫助這個音樂和影像完成的朋友們;如果市場迴響好,大家一起得利;若市場迴響不如預期也沒關係,因為我們享受了這整個創作的過程,對我來說這是最好的酬勞!
再來就是我另外一個瘋狂的點子, 因為SKR是我音樂上的遊樂場,一個我可以實驗性玩的地方。 所以我,再次藝術家式的,直覺的,強烈的決定要分享歌曲裡的我彈的樂器的分軌檔案; 對我來說,我想分享一首歌形成的過程,我也想知道有什麼創意的方法能從我分享的這些檔案裡延伸出去; 也許最簡單的唱一首cover,也許DJ能很酷地拿走我的吉他混進另一首歌裡,也許不會彈樂器卻有豐富創作能量的人能用我的音樂寫出一首全新的旋律,也許樂團能拿著這些stems表演live,有或者有人對編曲很有興趣,那他也許可以從我的編曲裡得到他想要的資訊..... 我不知道,我不知道未來的世界音樂會是什麼樣子, 但是我永遠記得那個愛上音樂帶給他神奇魔力的小男孩; 在音樂上分享我現在所知道的,如果這些分享能帶給任何一個現在對音樂有興趣的人幫助,那SKR就已經成功了!
www.SKRpresents.com is now live!
Visit the website for some freebie instrumentals and stems, as well as having the opportunity to read Skot's blog; so much behind the scenes, advices, anecdotes... here's a sample of what's on!
(Skot原文如下)
For the past 15 years that I’ve been making music professionally, the thing that I’m most scared of is this: that making music will feel like work. I’m afraid I’ll lose the innocence and passion that I had when I was a boy. Playing in a band with my best friends, writing songs together, learning how to record, and the best part of all, listening back to the music we created. This magical feeling I get when making music is the most important part, and I always need to protect it. I want to feel this magic feeling every time I write a song, work with an artist, do an arrangement, or produce or mix a song. If an artist wants to drastically change a song that I’ve already fallen in love with, or the client wants me to work in a way where it will feel like work, I’ll reject the case. I know I’m very difficult to work with, and a bit of an artist myself, but this is the only way I can keep my love for making music.
When I’m not doing paid jobs, the best way for me to recharge is to find new and exciting voices to work with. Sometimes I discover people when they cover my songs, and send it to me, sometimes friends will recommend great singers they’ve discovered, etc. I always reach out to singers that move me, and ask if they want to come over and make music together. I’ve been doing this for over 5 years now. And in the beginning, I wasn’t smart about it. I’d make SO many songs with these amazing singers I found online, but the songs would end up just sitting on my computer with no way out. So then we started shooting our own music videos and releasing them on YouTube. But we had no way of ‘officially’ releasing these songs. So we had no money coming in, and we couldn’t continue making music videos for all the songs still stuck in my computer. Days turned to weeks, turned to years, and everyone had to move on. The singers would sign with a manager, or a record company, or maybe we’d agree to sell the songs to someone else, etc. Some of these trapped songs have come out already, some of these songs were even hits, but still.. I wanted a way to create a song with an amazing singer, shoot an MV and be able to release it right away. That’s been my dream for a while now.
That’s how SKR started. I want to keep finding new talent to work with, and make music that inspires me, that keeps me awake at night, like how I used feel growing up. And I want the music to be pure. No money, no contracts, no commitments. Just make music because I love the feeling of making music. And people can come and go as they please. And I’m so lucky that the end of last year, we officially launched SKR with the help of Union Square (formerly Kkfarm). So I have an official way of releasing those old songs that have been stuck in my computer. And if there’s any income, we can divide it among everyone that helped bring the song out of my computer and into the world. When a singer and I make a new song, we can shoot an MV right away and release it while we all still feel the fire from what we created. If the market likes what we’re doing, then everyone who helped out on this song will benefit. If the song totally flops, we’ll still be happy that we created something we’re proud of and had the ability to put it out. There’s no regrets. Because the process of creating music is the best payment we can ever receive.
Which brings me to my craziest idea. SKR is a musical playground for me. Somewhere where we can try things that haven’t been done before. I don’t know exactly why, but I have a very strong feeling to release the instrumentals and the stems of the songs I’ve done for SKR. I don’t know what will happen when I do this. But I’m really looking forward and curious to see what will be created from this. Maybe a DJ will remix some of my guitar tracks into something super cool. Maybe it will give a chance to people who can write great melodies, but don’t play an instrument. They can sing their own melodies over my instrumentals. Singers who love to cover songs, but don’t play an instrument, can download these instrumentals and easily do a cover now. Even bands can download the stems to perform any of these songs live. Or maybe it will help people who are interested in learning how to do arrangements hear more clearly how I put these tracks together. I don’t know. I don’t know what will happen to the music industry in the future either. But I always remember that magical feeling I had as a kid, falling in love with making music. And if these instrumentals or stems can inspire someone else musically, then SKR is already a success.
best old english love songs 在 YOSHITOMO NARA Facebook 的最讚貼文
Nobody’s Fool ( January 2011 )
Yoshitomo Nara
Do people look to my childhood for sources of my imagery? Back then, the snow-covered fields of the north were about as far away as you could get from the rapid economic growth happening elsewhere. Both my parents worked and my brothers were much older, so the only one home to greet me when I got back from elementary school was a stray cat we’d taken in. Even so, this was the center of my world. In my lonely room, I would twist the radio dial to the American military base station and out blasted rock and roll music. One of history’s first man-made satellites revolved around me up in the night sky. There I was, in touch with the stars and radio waves.
It doesn’t take much imagination to envision how a lonely childhood in such surroundings might give rise to the sensibility in my work. In fact, I also used to believe in this connection. I would close my eyes and conjure childhood scenes, letting my imagination amplify them like the music coming from my speakers.
But now, past the age of fifty and more cool-headed, I’ve begun to wonder how big a role childhood plays in making us who we are as adults. Looking through reproductions of the countless works I’ve made between my late twenties and now, I get the feeling that childhood experiences were merely a catalyst. My art derives less from the self-centered instincts of childhood than from the day-to-day sensory experiences of an adult who has left this realm behind. And, ultimately, taking the big steps pales in importance to the daily need to keep on walking.
While I was in high school, before I had anything to do with art, I worked part-time in a rock café. There I became friends with a graduate student of mathematics who one day started telling me, in layman’s terms, about his major in topology. His explanation made the subject seem less like a branch of mathematics than some fascinating organic philosophy. My understanding is that topology offers you a way to discover the underlying sameness of countless, seemingly disparate, forms. Conversely, it explains why many people, when confronted with apparently identical things, will accept a fake as the genuine article. I later went on to study art, live in Germany, and travel around the world, and the broader perspective I’ve gained has shown me that topology has long been a subtext of my thinking. The more we add complexity, the more we obscure what is truly valuable. Perhaps the reason I began, in the mid-90s, trying to make paintings as simple as possible stems from that introduction to topology gained in my youth.
As a kid listening to U.S. armed-forces radio, I had no idea what the lyrics meant, but I loved the melody and rhythm of the music. In junior high school, my friends and I were already discussing rock and roll like credible music critics, and by the time I started high school, I was hanging out in rock coffee shops and going to live shows. We may have been a small group of social outcasts, but the older kids, who smoked cigarettes and drank, talked to us all night long about movies they’d seen or books they’d read. If the nighttime student quarter had been the school, I’m sure I would have been a straight-A student.
In the 80s, I left my hometown to attend art school, where I was anything but an honors student. There, a model student was one who brought a researcher’s focus to the work at hand. Your bookshelves were stacked with catalogues and reference materials. When you weren’t working away in your studio, you were meeting with like-minded classmates to discuss art past and present, including your own. You were hoping to set new trends in motion. Wholly lacking any grand ambition, I fell well short of this model, with most of my paintings done to satisfy class assignments. I was, however, filling every one of my notebooks, sketchbooks, and scraps of wrapping paper with crazy, graffiti-like drawings.
Looking back on my younger days—Where did where all that sparkling energy go? I used the money from part-time jobs to buy record albums instead of art supplies and catalogues. I went to movies and concerts, hung out with my girlfriend, did funky drawings on paper, and made midnight raids on friends whose boarding-room lights still happened to be on. I spent the passions of my student days outside the school studio. This is not to say I wasn’t envious of the kids who earned the teachers’ praise or who debuted their talents in early exhibitions. Maybe envy is the wrong word. I guess I had the feeling that we were living in separate worlds. Like puffs of cigarette smoke or the rock songs from my speaker, my adolescent energies all vanished in the sky.
Being outside the city and surrounded by rice fields, my art school had no art scene to speak of—I imagined the art world existing in some unknown dimension, like that of TV or the movies. At the time, art could only be discussed in a Western context, and, therefore, seemed unreal. But just as every country kid dreams of life in the big city, this shaky art-school student had visions of the dazzling, far-off realm of contemporary art. Along with this yearning was an equally strong belief that I didn’t deserve admittance to such a world. A typical provincial underachiever!
I did, however, love to draw every day and the scrawled sketches, never shown to anybody, started piling up. Like journal entries reflecting the events of each day, they sometimes intersected memories from the past. My little everyday world became a trigger for the imagination, and I learned to develop and capture the imagery that arose. I was, however, still a long way off from being able to translate those countless images from paper to canvas.
Visions come to us through daydreams and fantasies. Our emotional reaction towards these images makes them real. Listening to my record collection gave me a similar experience. Before the Internet, the precious little information that did exist was to be found in the two or three music magazines available. Most of my records were imported—no liner notes or lyric sheets in Japanese. No matter how much I liked the music, living in a non-English speaking world sadly meant limited access to the meaning of the lyrics. The music came from a land of societal, religious, and subcultural sensibilities apart from my own, where people moved their bodies to it in a different rhythm. But that didn’t stop me from loving it. I never got tired of poring over every inch of the record jackets on my 12-inch vinyl LPs. I took the sounds and verses into my body. Amidst today’s superabundance of information, choosing music is about how best to single out the right album. For me, it was about making the most use of scant information to sharpen my sensibilities, imagination, and conviction. It might be one verse, melody, guitar riff, rhythmic drum beat or bass line, or record jacket that would inspire me and conjure up fresh imagery. Then, with pencil in hand, I would draw these images on paper, one after the other. Beyond good or bad, the pictures had a will of their own, inhabiting the torn pages with freedom and friendliness.
By the time I graduated from university, my painting began to approach the independence of my drawing. As a means for me to represent a world that was mine and mine alone, the paintings may not have been as nimble as the drawings, but I did them without any preliminary sketching. Prizing feelings that arose as I worked, I just kept painting and over-painting until I gained a certain freedom and the sense, though vague at the time, that I had established a singular way of putting images onto canvas. Yet, I hadn’t reached the point where I could declare that I would paint for the rest of my life.
After receiving my undergraduate degree, I entered the graduate school of my university and got a part-time job teaching at an art yobiko—a prep school for students seeking entrance to an art college. As an instructor, training students how to look at and compose things artistically, meant that I also had to learn how to verbalize my thoughts and feelings. This significant growth experience not only allowed me to take stock of my life at the time, but also provided a refreshing opportunity to connect with teenage hearts and minds.
And idealism! Talking to groups of art students, I naturally found myself describing the ideals of an artist. A painful experience for me—I still had no sense of myself as an artist. The more the students showed their affection for me, the more I felt like a failed artist masquerading as a sensei (teacher). After completing my graduate studies, I kept working as a yobiko instructor. And in telling students about the path to becoming an artist, I began to realize that I was still a student myself, with many things yet to learn. I felt that I needed to become a true art student. I decided to study in Germany. The day I left the city where I had long lived, many of my students appeared on the platform to see me off.
Life as a student in Germany was a happy time. I originally intended to go to London, but for economic reasons chose a tuition-free, and, fortunately, academism-free German school. Personal approaches coexisted with conceptual ones, and students tried out a wide range of modes of expression. Technically speaking, we were all students, but each of us brought a creator’s spirit to the fore. The strong wills and opinions of the local students, though, were well in place before they became artists thanks to the German system of early education. As a reticent foreign student from a far-off land, I must have seemed like a mute child. I decided that I would try to make myself understood not through words, but through having people look at my pictures. When winter came and leaden clouds filled the skies, I found myself slipping back to the winters of my childhood. Forgoing attempts to speak in an unknown language, I redoubled my efforts to express myself through visions of my private world. Thinking rather than talking, then illustrating this thought process in drawings and, finally, realizing it in a painting. Instead of defeating you in an argument, I wanted to invite you inside me. Here I was, in a most unexpected place, rediscovering a value that I thought I had lost—I felt that I had finally gained the ability to learn and think, that I had become a student in the truest sense of the word.
But I still wasn’t your typical honors student. My paintings clearly didn’t look like contemporary art, and nobody would say my images fit in the context of European painting. They did, however, catch the gaze of dealers who, with their antennae out for young artists, saw my paintings as new objects that belonged less to the singular world of art and more to the realm of everyday life. Several were impressed by the freshness of my art, and before I knew it, I was invited to hold exhibitions in established galleries—a big step into a wider world.
The six years that I spent in Germany after completing my studies and before returning to Japan were golden days, both for me and my work. Every day and every night, I worked tirelessly to fix onto canvas all the visions that welled up in my head. My living space/studio was in a dreary, concrete former factory building on the outskirts of Cologne. It was the center of my world. Late at night, my surroundings were enveloped in darkness, but my studio was brightly lit. The songs of folk poets flowed out of my speakers. In that place, standing in front of the canvas sometimes felt like traveling on a solitary voyage in outer space—a lonely little spacecraft floating in the darkness of the void. My spaceship could go anywhere in this fantasy while I was painting, even to the edge of the universe.
Suddenly one day, I was flung outside—my spaceship was to be scrapped. My little vehicle turned back into an old concrete building, one that was slated for destruction because it was falling apart. Having lost the spaceship that had accompanied me on my lonely travels, and lacking the energy to look for a new studio, I immediately decided that I might as well go back to my homeland. It was painful and sad to leave the country where I had lived for twelve years and the handful of people I could call friends. But I had lost my ship. The only place I thought to land was my mother country, where long ago those teenagers had waved me goodbye and, in retrospect, whose letters to me while I was in Germany were a valuable source of fuel.
After my long space flight, I returned to Japan with the strange sense of having made a full orbit around the planet. The new studio was a little warehouse on the outskirts of Tokyo, in an area dotted with rice fields and small factories. When the wind blew, swirls of dust slipped in through the cracks, and water leaked down the walls in heavy rains. In my dilapidated warehouse, only one sheet of corrugated metal separated me from the summer heat and winter cold. Despite the funky environment, I was somehow able to keep in midnight contact with the cosmos—the beings I had drawn and painted in Germany began to mature. The emotional quality of the earlier work gave way to a new sense of composure. I worked at refining the former impulsiveness of the drawings and the monochromatic, almost reverent, backgrounds of the paintings. In my pursuit of fresh imagery, I switched from idle experimentation to a more workmanlike approach towards capturing what I saw beyond the canvas.
Children and animals—what simple motifs! Appearing on neat canvases or in ephemeral drawings, these figures are easy on the viewers’ eyes. Occasionally, they shake off my intentions and leap to the feet of their audience, never to return. Because my motifs are accessible, they are often only understood on a superficial level. Sometimes art that results from a long process of development receives only shallow general acceptance, and those who should be interpreting it fail to do so, either through a lack of knowledge or insufficient powers of expression. Take, for example, the music of a specific era. People who lived during this era will naturally appreciate the music that was then popular. Few of these listeners, however, will know, let alone value, the music produced by minor labels, by introspective musicians working under the radar, because it’s music that’s made in answer to an individual’s desire, not the desires of the times. In this way, people who say that “Nara loves rock,” or “Nara loves punk” should see my album collection. Of four thousand records there are probably fewer than fifty punk albums. I do have a lot of 60s and 70s rock and roll, but most of my music is from little labels that never saw commercial success—traditional roots music by black musicians and white musicians, and contemplative folk. The spirit of any era gives birth to trends and fashions as well as their opposite: countless introspective individual worlds. A simultaneous embrace of both has cultivated my sensibility and way of thinking. My artwork is merely the tip of the iceberg that is my self. But if you analyzed the DNA from this tip, you would probably discover a new way of looking at my art. My viewers become a true audience when they take what I’ve made and make it their own. That’s the moment the works gain their freedom, even from their maker.
After contemplative folk singers taught me about deep empathy, the punk rockers schooled me in explosive expression.
I was born on this star, and I’m still breathing. Since childhood, I’ve been a jumble of things learned and experienced and memories that can’t be forgotten. Their involuntary locomotion is my inspiration. I don’t express in words the contents of my work. I’ll only tell you my history. The countless stories living inside my work would become mere fabrications the moment I put them into words. Instead, I use my pencil to turn them into pictures. Standing before the dark abyss, here’s hoping my spaceship launches safely tonight….
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