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Lot Essay
Yoshitomo Nara is one of the most prominent figures of Japanese contemporary art. Although he received formal artistic training at the Aichi Prefectural University of Fine Arts and Music, Nara also draws on popular styles from Japanese picture books. Nara is a diverse artist who works with paintings, sculptures and installations. His 'cute', accessible artworks dissolves the boundaries between traditional 'high' art and 'low' popular culture in post war Japan, expanding the ways from which art can be read. Furthermore, his remarkable ability to interpret and reappropriate traditional culture helped forge a unique position for Japanese art in the International art arena.
Submarines in Girl (Lot 32) is one of Nara's early works from the 1990s , created when he was studying in Germany. The composition of the work is in fact extremely direct and simple. The face of the young girl takes up the whole pictorial surface. As the artist has only depicted the head and omitted the body of the figure, the proportions presented here seem to be irrational. In particular, the face of the girl has been stretched out to fit the picture frame. This demonstrates the humour and exaggerated technique typically found in Nara's works.
Nara's deliberate insertion of his own subjectivivity marks a continuity in the development of art. In Western art history, generations of artists including Cezanne, Van Gogh and Picasso have mapped their subjective visions onto their works. Dali often creates distorted, fantastical worlds (Fig. 1) which leads the viewer into a deeper spiritual world, unihibited by the limitations of reality. Nara's handling of the figure in Submarines in Girl goes beyond realistic observation; the distorted head of the child simultaneously resembles the appearance of a teacup with ears. The orange, yellowish hair and the curls around the ear transforms into pumpkin soup that seems to be overspilling. Submarines in Girl thus can be interpreted as both a still-life and a portrait. The fairy-talesque echoes are evocative of the work of the Surrealist artist Philip Guston (Fig. 2). It is difficult to distinguish between the figural forms and the inanimate object, which are juxtaposed next to one another.
The time Nara spent in Europe undoubtedly pushed him towards the thresholds of Western art. Significantly, as a Japanese artist, he did not lose touch with traditional Japanese aesthetic sensitivities and artistic practices. Traditional Japanese paintings also frequently reveal the subjective vision of the artist. The Self Portrait (Fig. 3) by Sengai Gibon, a Zen Buddhist monk from the Edo period, reflects the succinct and expressive nature of Japanese ink wash. With one single stroke, the artist defines the gourd-like figure of the buddhist. He then uses two strokes to draw the eyes and face of the monk. In a few strokes, the artist encapsulates the atmosphere of Zen meditative spaces. In a similar manner, Nara freely sweeps thick black lines onto the canvas to outline the girl's features and physical appearance. Paradoxically, the unadorned lines immediately catch the viewer's eye. Upon first glance, the figure seems to resemble the basic form of a circle. He exploits the advantageous quality of lines to create abstract images. In Zen Circle (Fig. 4) from the 18th Century, Torei Enji uses basic painting elements to represent the theme. In contrast to Academic Realist works which focus on narrative and realistic detail, these works, composed by succinct lines and abstracted symbols are self-referential. Nara exploits textures and brighter colours of oil paint to present a Japanese aesthetic.
Nara's success in art to a large extent stems to come from his ability to offer a space for his viewers to project their emotions onto. The motif of the child often recurs in his works as it deeply resonates with his viewers. He breaks down the boundaries between 'high' art and 'low' art by omitting complex detail and difficult artistic theory. On some level, both adults and children want to be the centre of attention and seek for approval from different sources. Nara taps into this universal psychology. In his works he likes to depict figures or animals. The lonliness of children often evoke empathic responses from the viewer, who easily slips into the role of the child.
Nara appropriates the format of Ukiyo-e prints (Fig. 5) to draw attention to the main character. The flattened spaces accentuate the form of the character. The absence of unessential detail also allows the viewer to observe the character's emotions. The mischievious smile and gaze of the girl is complemented by the vibrant playful colours and submarines that seem to be chasing each other. These elements transforms the girl's head into a fantastical playground. She does not seem lonely. Instead, she seems relaxed and happy. In popular imagination, people often envision themselves to be the main character of a fantastical realm. Here, she captivates the attention of viewers, functioning as a delightful presence.
Submarines in Girl (Lot 32) is one of Nara's early works from the 1990s , created when he was studying in Germany. The composition of the work is in fact extremely direct and simple. The face of the young girl takes up the whole pictorial surface. As the artist has only depicted the head and omitted the body of the figure, the proportions presented here seem to be irrational. In particular, the face of the girl has been stretched out to fit the picture frame. This demonstrates the humour and exaggerated technique typically found in Nara's works.
Nara's deliberate insertion of his own subjectivivity marks a continuity in the development of art. In Western art history, generations of artists including Cezanne, Van Gogh and Picasso have mapped their subjective visions onto their works. Dali often creates distorted, fantastical worlds (Fig. 1) which leads the viewer into a deeper spiritual world, unihibited by the limitations of reality. Nara's handling of the figure in Submarines in Girl goes beyond realistic observation; the distorted head of the child simultaneously resembles the appearance of a teacup with ears. The orange, yellowish hair and the curls around the ear transforms into pumpkin soup that seems to be overspilling. Submarines in Girl thus can be interpreted as both a still-life and a portrait. The fairy-talesque echoes are evocative of the work of the Surrealist artist Philip Guston (Fig. 2). It is difficult to distinguish between the figural forms and the inanimate object, which are juxtaposed next to one another.
The time Nara spent in Europe undoubtedly pushed him towards the thresholds of Western art. Significantly, as a Japanese artist, he did not lose touch with traditional Japanese aesthetic sensitivities and artistic practices. Traditional Japanese paintings also frequently reveal the subjective vision of the artist. The Self Portrait (Fig. 3) by Sengai Gibon, a Zen Buddhist monk from the Edo period, reflects the succinct and expressive nature of Japanese ink wash. With one single stroke, the artist defines the gourd-like figure of the buddhist. He then uses two strokes to draw the eyes and face of the monk. In a few strokes, the artist encapsulates the atmosphere of Zen meditative spaces. In a similar manner, Nara freely sweeps thick black lines onto the canvas to outline the girl's features and physical appearance. Paradoxically, the unadorned lines immediately catch the viewer's eye. Upon first glance, the figure seems to resemble the basic form of a circle. He exploits the advantageous quality of lines to create abstract images. In Zen Circle (Fig. 4) from the 18th Century, Torei Enji uses basic painting elements to represent the theme. In contrast to Academic Realist works which focus on narrative and realistic detail, these works, composed by succinct lines and abstracted symbols are self-referential. Nara exploits textures and brighter colours of oil paint to present a Japanese aesthetic.
Nara's success in art to a large extent stems to come from his ability to offer a space for his viewers to project their emotions onto. The motif of the child often recurs in his works as it deeply resonates with his viewers. He breaks down the boundaries between 'high' art and 'low' art by omitting complex detail and difficult artistic theory. On some level, both adults and children want to be the centre of attention and seek for approval from different sources. Nara taps into this universal psychology. In his works he likes to depict figures or animals. The lonliness of children often evoke empathic responses from the viewer, who easily slips into the role of the child.
Nara appropriates the format of Ukiyo-e prints (Fig. 5) to draw attention to the main character. The flattened spaces accentuate the form of the character. The absence of unessential detail also allows the viewer to observe the character's emotions. The mischievious smile and gaze of the girl is complemented by the vibrant playful colours and submarines that seem to be chasing each other. These elements transforms the girl's head into a fantastical playground. She does not seem lonely. Instead, she seems relaxed and happy. In popular imagination, people often envision themselves to be the main character of a fantastical realm. Here, she captivates the attention of viewers, functioning as a delightful presence.