Mr Dob and the Rainbow
[Takeshi Murakami & Kaikai Kiki]
international kitsch
Murakami thought that a more individual form of expression was needed for the Japanese, seeing all the American Holzer's and Kreuger's that we popular in the galleries at the time. He created "Mr Dob" and his other characters not to express any particular message he had but to "[Crystalise] this or that image." The describe a kind of scream, frustration and are a homage to the metamorphosis that takes place in animated film. Shigeru Mizuki's Hyakume character particularly influenced him. The influence is visible.
In true postmodern style, Murakami was actively aware of his effort to become a 'contemporary artist', identifying as an 'artist, an 'Artist' and an otaku - a part of himself that he had given up while studying formal art. There is a connection in his work between the technical aspects of Western art and the actual flatness of a painting, sometimes stripping away and sometimes using the illusion of perspective but always Superflat - superficial.
[see Hokusai, Yumeji Takehisa's mushrooms and Koru Ogata's irises/flowers]
international kitsch
"But what was my identity? The answer is that I didn't really have one. So I felt that the only thing I could do to explain that acsence of identith was to pile up all the formatibe layers that had contributed to my background..."- Murakami, interview with Hélene Kehmachter
Murakami thought that a more individual form of expression was needed for the Japanese, seeing all the American Holzer's and Kreuger's that we popular in the galleries at the time. He created "Mr Dob" and his other characters not to express any particular message he had but to "[Crystalise] this or that image." The describe a kind of scream, frustration and are a homage to the metamorphosis that takes place in animated film. Shigeru Mizuki's Hyakume character particularly influenced him. The influence is visible.
In true postmodern style, Murakami was actively aware of his effort to become a 'contemporary artist', identifying as an 'artist, an 'Artist' and an otaku - a part of himself that he had given up while studying formal art. There is a connection in his work between the technical aspects of Western art and the actual flatness of a painting, sometimes stripping away and sometimes using the illusion of perspective but always Superflat - superficial.
[see Hokusai, Yumeji Takehisa's mushrooms and Koru Ogata's irises/flowers]
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