Tokyo Art Beat : Artist Interview
https://www.tokyoartbeat.com/en/articles/-/interview-with-yuyahashizume-aesthetic-of-casualness-and-respect-for-fujiko

Interview with Yuya Hashizume: aestheticof “casualness” and respect for Fujiko F.
Fujio
Self-taught artist Yuya Hashizume has gained popularity with his “eyewater” series and is now holding
two solo exhibitions at Yutaka Kikutake Gallery and Spiral. (Translation: Alena Prusakova)

Yuya Hashizume at the studioYuya Hashizume is a Tokyo-based artist born in Okayama Prefecture in 1983. His recent works include“eyewater,” a series of works in which portraits inspired by Fujiko F. Fujio's characters shed a single tear.
His solo exhibition “eyewater -everybody feels the same-” is currently on view at Yutaka Kikutake Gallery(Tokyo) until September 17, and another solo exhibition, “eyewater,” opens at Spiral from September 2 toSeptember 11. Although Hashizume has already gained popularity in the market, his background ofworking for an outdoor brand before becoming a self-taught artist is unique to the world of contemporary
art. Upon his second solo exhibition at Yutaka Kikutake Gallery, we interviewed Hashizume about his
approach as an artist and his newest works.【Tokyo Art Beat】

Yuya Hashizume eyewater animal ver. Manekineko -tokyo2022- 2022 acrylic on canvas 162×112 cm

Boundaries between original and copyーYou are known for a series of works that reference the style of manga artist Fujiko
F. Fujio. Can you tell us how you started with this style?

It started with an exhibition called “Fujikogansakushi” (the Placebox3129) in my hometownof Okayama in 2017. In that exhibition, I wanted to think about the possibility that everythingrefers to something and is always an imitation of something else.
I’ve had this idea for a rather long time. However, people have never believed me much[laugh]. For example, if I drew Doraemon in school and the teacher said, “You are good atthat, maybe you will be an artist in the future,” and I actually became an artist, then part of
my life as an artist began with my imitation of Fujiko. I believe that everything is based onsuch “imitation” and “emulation.”On the other hand, sometime before this exhibition, a controversy regarding plagiarism of
the emblems of the Tokyo Olympics and Paralympics broke out, and there was a lot of
discussion about original and copying. What struck me as I listened to this discussion wasthat many people in society seem to think there is a “perfect original.” But are theboundaries between original and copy so clear?
Before I became an artist, I worked in PR for an outdoor brand, and it was not uncommon in the fashion
world for one brand's product or advertisement to be referenced elsewhere. In addition, I have imitated mysuccessful colleagues’ work styles and sometimes felt that it was indeed plagiarism. But people areobsessed with the “original.” Why is that? The exhibition in Okayama dealt with this personal question,
incorporating the works of Fujiko, whom I have admired for a long time, as a motif.

ーYour work also hints at pop art. Andy Warhol and Roy Lichtenstein took existing
advertising and comic book images and applied them to their work. In this sense, theboundary between an original and a copy in art is not so self-evident. At the sametime, however, it is also true that your works and methods have been criticized in the
past.
That’s right. I think the major difference between the pop art era and now is the existence ofsocial media. My works used to receive a lot of negative attention online. It was quite hardfor me at the time, but on the other hand, people got to know my name, and some said that
my works were good. In that sense, this experience was both negative and positive for me.

ーDid you expect it to blow up like that?
No, it was held in Okayama, and I did not anticipate that level of response.

However, in terms of public reaction, since I used to work in PR, I am very conscious ofimage trends. When I started referencing Fujiko's style, the female bust-up portraits were
just gaining popularity. For example, I think Kyne's breakthrough was part of this trend, andwhen I tried to create my pieces, I consciously chose to use female images. I didn’t expectthat amount of negative feedback, but the choice of motif was intentional, and I was hoping
it would all work out.
At the time, however, I was more conscious that my works looked more like fashionableillustrations than works of art, and I thought it would be exciting if they were made into Tshirts or other products. In fact, at the time, I created most of my work digitally and released
it as reproducible prints. I started calling myself an artist because of that, and at first, I
thought of painting at other people’s request. And I simply didn't have the money, so I had
to make it count. Simply put, I was thinking of “selling my soul.”

Paintings and the aesthetics of “casualness”
ーHow was your signature series, “eyewater,” in which a character sheds a single
tear, created?
The works did not sell at the “Fujikogansakushi” exhibition. Still, I was approached by afashion brand, and I decided to participate in the upcoming exhibition under the name
“Fujikogansakushi” (Fujiko’s counterfeiter). But again, my artwork caused issues, and, as aresult, I could not exhibit it. Reactions were mixed, with some saying that “it was risky andcompromised” and others saying that the controversy was “fashion-like.” Around that time,someone said to me, “Why don't you add one thing that is unique to you and try making asolid painting piece instead?” And this led to the "eyewater" series.
Although some of Fujiko's works are for adult audiences, most feature children, and crying
scenes are rather common among them. Thus, tears are a Fujiko-like motif, but I decided topresent them as a painting rather than a print. Tears do not have a particular limiting
meaning. I see the canvas as a comic frame disconnected from the narrative above andbelow. It can be taken negatively or positively, there may be a story to follow, or this frame
may be the last. In fact, I find it interesting that the viewer's perspectives and reactions are
so different, and I think it is best to leave the interpretation to them.

ーYou have mentioned in the past interviews your fondness for similar products
lined up inorganically, like at IKEA and Muji stores. While working with the emotionalmotif of tears, the structure of the work, in which the motifs are replicated in different
colors, is also very pop art-like.
Many of the reactions to “eyewater” were negative, saying that it looked “sad” or “painful”
rather than positive. Focusing too much on the negative aspects didn't feel right, so I tried toinclude more pop elements, which led to repeated patterns and bright colors.
I also like the industrial texture of the works of Julian Opie and groovisions, and have been
influenced by the works of Designers Republic, a British design studio that has createdcovers for Aphex Twin and many others. Besides, I am from a generation inspired bycultural magazines such as “relax” and the rise of KAWS. So I wanted to express my senseof “cool” by giving it a form in my works and making it understandable to those around me.
This is because, at that time, my boss often dismissed my idea of “coolness.” Hence, I
decided to “push” my senses and thoughts when I started expressing myself as an artist.
This is also why I was focused on creating prints and mass-marketed products like T-shirts
when I started my journey. I thought that if prints could reach the houses as works of art, it
would make “art” more fashionable for the Japanese people rather than something
incomprehensible and unfamiliar.
But I also became a little greedy [laugh] and heard people say, “If you paint by hand, itwould be more valuable,” and that's partially why I shifted to painting. This attitude may be
criticized as “having no core as a creator,” but I think this looseness is fashionable and away of living I have learned through my past working experience.

ーIt seems you possess a sort of “casualness,” but in a way that is not necessarily
bad. The idea that “there is no such thing as an original, copy is fine” is very
“casual,” and the direction of your activities also changes in response to theopinions of others and the current trends. The way you approach the world is very
“casual.” Perhaps it is a unique aesthetic you formed from many cultural influences
and working experiences in the fashion world.
I am very flattered you see it this way. I am often told that I am being “cheeky” or that “thatis not what art is about,” but in a way, I am very sincere and serious, and doing this as myway of living.

ーYou also have deformed canvas works in which several characters are entangledwith each other. How did you come up with this idea?

This type of work references the emotions found in Fujiko, and Osamu Tezuka’s works,
among others. The interesting thing is that there are some gymnastics elements in them. In
many of my works, I include puzzle-like elements that give viewers a sense of such visualpleasures.

ーThe richness of the Japanese manga vocabulary could indeed be given more
attention in the art world.
Someone once told me about working with Fujiko’s motifs, “It's Pandora's box. Everyone
knows it is good, and if you put a little fashionable element in it, it is guaranteed to sell. No
one uses it because they know it's Pandora's box.”
I couldn't say anything at the time, but I think things like Fujiko's works have become sofamiliar and ordinary to the Japanese that many people are oblivious to the details. In thissense, I also hope that people who like my work will look more closely at the details of
expression in its origins.

ーAt one point, you also compared the relationship between Fujiko's works andyours to classical rakugo.
Indeed. In rakugo a story is passed on to later generations while slightly changing it andmaking it more modern. I believe that my activities also possess such elements.

Showing "universal beliefs"

Yuya Hashizume eyewater -everybody feels the same- / about death and resurrection 2022 silkscreen andacrylic canvas 116,7×91 cm

ーIn the new works exhibited at the upcoming solo exhibition at Yutaka Kikutake
Gallery, the figures face forward instead of the usual diagonal angle. Instead ofneutral clothing, they wear clothes and items that reveal their location. Also, some of
the works show a shift from the flat surface we have seen before, emphasizing
brushstrokes in the backgrounds of the figures. Tell us about these newdevelopments and experimentations.
Like many of my activities, it is a mixture of two motives, serious and, in a way, unserious.
On a serious note, I think the past few years have been too eventful, like the pandemic andthe Russian invasion of Ukraine. Plus, I have a cat, and the issue of animal protection in thewake of the war was also a big concern for me. Amid such major issues, one thing I
decided to do, as someone who is now recognized by name a little, was to try to create awork with a pinpoint theme.
It's pretty natural to say, “I don't like war,” and many people feel the same. The exhibition’s
subtitle, “everybody feels the same,” represents this feeling. I wanted to show this obvious
feeling.
Other characters, for instance, have newspaper helmets on their heads and carry chopstickguns. Given the state of the world today, this might lead one to wonder how much happier
the world would be with chopsticks guns instead of real guns. It is embarrassing to talkabout “love” directly, so I try to express it in a slightly pop-like form.
Some of the characters remind us of “environmental issues” with their hair made from gas
emissions and windmill earrings, while others are dressed like Frida Kahlo at the Mexican
Festival of the Dead, reminding us of “religion” and “death” issues. As you said, thepaintings have more clearly defined regional and thematic concepts than before.
As for the unserious motive, I’ve recently noticed that many people desire to see the tracesof my technique and strokes. I prefer flat textures, but I realized that the artist’s mark isimportant in the art world. It is illuminating, but at the same time, I sometimes feel that art
loses flexibility due to such obsession. So, in a sense, there is an irony in thesebrushstrokes, or perhaps I feel that if I did this, it would add more complexity to work.

At the studio. Cats in Hashizume's works are modeled after his beloved cat.

ーAlthough, at first glance, it can be divided into serious and unserious motives,
there is a connection between presenting what “everyone must be thinking” andchanging one's style based on the opinions of others. I think your basic stance is tochange what you offer in response to what is required of you.

This may be because I felt difficulty earning money as an artist when I started. I don't want
to be an artist at the expense of those around me. I don't want it to be all business, but I
also don't want poverty. Perhaps people in the art world know how to make their works sellbetter, but they are not comfortable doing so. But I figured I would take advantage of my PRexperience and do it. I consider my activities to be “Yuya Hashizume's promotion.”
I also organize a “Tokyo Motorpool” group exhibition and often meet with artists.
Sometimes, when I say, “I want to buy this work,” the artist responds, “Oh, you're going tobuy it?” and looks surprised. And I just wonder, “Are you making them expecting that they
won't be sold?” [laugh]. Or was the idea of selling never there in the first place?

There is a tendency in the art world to view buying and selling as bad things. I have acertain admiration for art that has nothing to do with the economy, but I have doubts andconcerns about it as an ex-salesperson. These thoughts are also included in the strokes.

ーI heard that you used recycled paints to create the works for this exhibition.
That's right. I mostly used to create digital works, so I didn't care about it then, but when I
switched to analog and started using paint, there was just so much garbage. And I was
uncomfortable with it. Then I thought that since people like the “pattern” of my works, thecolors could be anything. Of course, I consider the quality of the work, but then I store theleftover paint of the same color scheme and use the colors that mix naturally with it in thenext piece. I think it is also good for the buyers because they can help reduce
environmental impact rather than exaggerate it.

ーWhy did you make the characters face forward?
I had done a similar style before under the theme of “mirrors.” It was after all that negative
experience, so I wanted to make viewers face the painting as if it were a mirror and ask, “Is
this just plagiarism?”. This exhibition is an extension of this idea, and since many of theworks address major social themes, I made them face the front again so that the message
would not be distorted or lost.
Another experimental element of this exhibition was using the silkscreening technique toprint bumpy letters on the canvas. I feel that nowadays, many people think they have seen
everything just by looking at images on Instagram or other social media, so I included thiselement because it is something that can only be experienced on-site. Thus, this time I also
focused on the element of firsthand experience.

Artist loved for “personality”
ーEarlier, you referred to your activities as “Yuya Hashizume's promotion,” butbesides the “eyewater” series, you have also created works in a completely different
genre. For example, “Henna Vender,” a portrait vending machine-like device, orvideo works featuring botanical surveys. What motivates these activities? Does it
depend on whether you find it interesting and fun?
Yes, I call it the “Beat Takeshi theory.” Among my creative activities, “eyewater” is thecoolest one, so it is similar to when Takeshi writes his name in kanji as “Takeshi Kitano.”And other works with stronger comedic tone are similar to his comedian name “BeatTakeshi.” That’s how I roughly separate them.

ーIncluding “eyewater” series, what do you plan to do in the future as “artist Yuya
Hashizume”?
I’m not sure. When I was younger, I wanted to confront the world with some sort ofantithesis, but recently, as I have gotten older, I have been enjoying riding motorcycles andfishing, and I am moving more and more toward the "individual" direction. Of course, I take“eyewater” seriously, but at the same time, I feel that I am creating something that people
asked for, and I hope that in the end, everyone will be able to find what they enjoy doing
and express that in their way.
On the other hand, regarding “eyewater,” Japanese people should talk more about theworks of “Fujiko Fujio” and consider their good qualities. I think they should be valued more.
Fujiko Fujio’s position is hard to see since Osamu Tezuka is a significant figure in his origin,but many people in the art field like the more avant-garde Fujio Akatsuka. However, I think
Fujiko Fujio's style is very Japanese in the way he successfully incorporates various
elements, including those from foreign cultures, to create works that everyone can enjoy. I
hope people will recognize this more, and I would like to become a small spark that createsthat atmosphere.

ーThese solo exhibitions are likely to become a turning point for your future career.
I hope people will enjoy the works, as they are carefully selected to convey a message
more than ever. In addition, through collaboration with gallerist Yutaka Kikutake, I am
learning about the ways and values of art I have lacked. I hope that the visitors will be able
to appreciate the results of these efforts too.
I am grateful that people are somewhat interested in my work now, but I am sure that in awhile, my current style will be called “lame.” I am trying different approaches so that whenthat happens, I won't have anything to do and won't be left with nothing. I hope that the
many seeds I planted will eventually grow and be appreciated again in the future. Like a
comedian, I hope to have a “breakthrough twice.”

ーIt is funny that you think about your own revival [laugh]. Listening to you today, I
felt your previous PR experience is very significant. Your style changes flexibly, andyou trust the world's atmosphere rather than your identity. This is rather unusual
among artists.
I am the second son, so I read between the lines very well [laugh]. I also want to keep goingas long as I can. It is important and fashionable to sell fast and make money quickly, butsince I am an artist, I want to continue even after I am seventy. I don't want to become a
pompous “teacher” but rather to maintain a little cheekiness by saying, “Please buy myworks!”.
I am more interested in making the life of “Yuya Hashizume” interesting and turning it intomoney rather than the individual series or works themselves. Until not so long ago, many
artists attracted the public’s interest and were loved for their “personality.” I hope to becomethat kind of artist.