My goal is to transcend time. My goal is to transcend time. By interpreting and updating the decorative culture that has survived throughout history and converting it into paintings, I want to create works that will make everyone say ‘wow! For this interview, we talked to him about his ideas and production.
Kyomori-san, you create your paintings in the context of decorativeness. Can I start by asking you about that?
-I work under the title of “contemporary decorator,” but my intention is to interpret and update the many decorative cultures throughout history in my own way. So, in that context, my work, in the form of paintings, may be a new format of decorative culture, regardless of country or region. In a sense, language is important in contemporary art, especially conceptual art. But for me, at least when it comes to my own work, I want my work to move people without words when they see it.
Kyomori-san, you were also involved in graphic design and clothing work. Does that influence your work?
-It does, and it’s an important aspect. In terms of the color combinations, I think my clothing studies in Europe have come in handy. Also, since I work digitally, I try to make my work stronger by combining multiple techniques and materials, such as selecting materials, and combining digital and analog techniques.
In addition, Japanese graphic design has its roots in ukiyoe prints, and I am conscious of the techniques of printmaking and the division of labor in my work.
Can I ask you about your production process?
-First I make a sketch, then I simulate it digitally. It’s important to have unexpected elements that are created by chance, such as piecing together materials. Then I draw the work in computer graphics, print it out using the appropriate printing technique for the material, and dye it or process it into three dimensions using rock paint or U V resin.
It seems that you have several series of works, but are there any particularly important ones at the moment?
-Right now, I have about five series. For example, the series called “A-UN” has a message of hope to transcend discrimination and prejudice between ethnic groups. Another important series is “JAPAN BLUE”, which uses indigo dyeing. This is a bit of a digression, but I believe that everything, including social incompatibility, is individuality. I believe that a diverse society is one that incorporates characteristics that do not fit into the established framework. That’s why the theme of this series is the affirmation of imperfection, and I think that’s very Japanese of me.
Are you saying that “visual impressions” have the power to transcend language and time?
-The world of contemporary art has always been dominated by conceptual art, which emphasizes concepts and words. Moreover, it is centered on the West.
I would like to explore what I, as a Japanese person and with a background in graphic design and clothing, can do about that.
Regardless of where you are in the world, what kind of work you do, or what ethnicity you belong to, I think the way to transcend the times is to create work that everyone can look at and say, “Wow!
Please tell us about your future plans.
-For the future, I would like to apply the context of traditional Japanese crafts to art from the perspective of decoration.
– Specifically, I would like to take the techniques nurtured by history and tradition, such as Arita-yaki pottery and indigo dyeing in Tokushima, and combine them with my own decorative paintings. I believe that this will enhance the value, strength, and energy of the work/object.
In addition, by co-creating with each region, I hope to protect the techniques and traditions that can be left to the future of Japan, and to pass on the evolved traditions to the next future that will transcend time.