Takunori Nakata mainly creates landscape paintings, but in unusual methods -he mixes programming techniques in paintings. This is not just because he learned about digital media before learning about art, but also he is trying to reach the forefront of the history of painting, which he describes as ” new is not created only by painting”. Perhaps he could be a model for a new generation of artists. 

You have been studying digital media before art, is that correct?
– Yes, I originally studied digital media. I got into art when I joined the art club at university and just got addicted. Then, I began to avoid digital as an expression even though my major was digital media. Eventually, I re-entered to art university and learned figurative painting. 

Is there any reason why you focus on creating landscape paintings?
– I’ve always liked the scenery, both to see and to draw, as I feel that the reality will be lost if I focus on a human being. I feel that humans and nature are equivalent but human in painting is rather more like a symbol. 

What is reality to you? 
– For me, the reality is ‘death’. It may seem a bit scary but I try to paint a landscape that can feel the connection between the world of death and alive. As long as I can remember, I felt something special for the landscape and I wanted to express this feeling in the painting. 

Friend Who I Hasn’t Seen in a While, 45.5cm×38cm

How do you include that ‘special’ feeling to your work? 
-I used to break the painting on purpose after I finished creating them. The aim was to create something that has no ingenuity in the painting, rather more like a coincidence. It does take a lot of time until I’m truly done with each piece of my work but this is the only way of creating something that I aim for. 

Seems like you’ve been mixing programming element into the painting.
-I started mixing the programming element since 2018. Mainly I used Photoshop but the complexity and coincidence arise from messing around with programming with no purpose. I put all the iconography in animation and cut out the good part into image and then create it in painting.
 The purpose and the method are the same, but creating animation is like checking to see which image is better. But after all, the parameter of try&error is completely different between analog and programming. 

Mrs. Strage, 72.7×91cm

Do you consider the theme and the concept important? 
-I don’t focus on theme and concept. However, speaking of art history, I think the current method is probably the best way to solve the problem of the relationship between metaphors and symbols. I aim to create new paintings, of course, but creating something ‘new’ won’t be possible by just painting, at least that’s how I feel and I think my current approach/process of creating my works has shortened the distance. So looking back now, learning digital was very helpful. Recently, I’ve been interested in the arbitrariness of languages because I think programming and languages ​​are similar. I want to continue my career as an artist and I believe that my role is to provide something new to the world.

Meeting Place, 91×116.7cm


At TRiCERA we believe that “creativity has no boundaries.” We enable artists to offer their authentic artwork to art collectors by providing our porfessional services. We solve the problems of language barriers and complex overseas delivery services in order to connect Japanese artists to the rest of the world.

No Comments Yet

Leave a Reply

Your email address will not be published.

Copyright © 2019 TRiCERA, Inc. All Rights Reserved