Takashi Murakami Quotes
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In Japan, I focus mostly on sending messages through Twitter, trying to spread my minority way of thinking.
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I'm very sad to be compared with Warhol and The Factory, because I have no drugs, you know. We have no drug culture in Japan! Maybe it's because our attitude toward labor is totally different.
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Rather than a big figure, I guess you could say I'm more of an influential minority symbol.
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Like many other kids, I liked watching anime.
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My parents came from the Kyushu Island in the Southern part of Japan to find work in Tokyo. So we could only afford to live downtown, in a low-income area. It was just by the river, and whenever a typhoon came around, we were under water up to, like, here. That's the kind of place we lived in.
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We want to see the newest things. That is because we want to see the future, even if only momentarily. It is the moment in which, even if we don't completely understand what we have glimpsed, we are nonetheless touched by it. This is what we have come to call art.
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I actually feel like the phrase 'big in Japan' is not appropriate for me. The reason is that there are more people who sympathize with my practice in America than there are domestically in Japan.
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I'm always looking for ways to connect myself with American people and that American feeling. I'm trying to pick up on the feeling of places, like the Los Angeles feeling or the New York feeling... Los Angeles is much better for me that way.
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In Japan, I am famous in certain special circles - mainly as someone who is trying to break down and enlighten the conventions of Japanese art.
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When I was little, I guess I was just an ordinary kid. But then things changed when I was in junior high. You know, kids that become geeks become one because of something. Like, they aren't good at sports, or girls don't like them. I, too, for some reason, got into things like science fiction and, well, especially science fiction as an escape.
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I always have stress.
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The concept of minimalism is to relax. Like a Zen monk in training, it is something that brings equilibrium to the heart. I don't necessarily think it has any problems, but if I were to force myself to name one, I would say that since the minimalist feeling already includes its own universe, I think it might kill the drive that we would otherwise have to commit the physically impossible and attempt to travel into outer space.
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Japanese people accept that art and commerce will be blended; and, in fact, they are surprised by the rigid and pretentious Western hierarchy of 'high art.'
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New York City is still the art capital - every time I'm in New York, I'm thinking about competition.
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I'm always very interested in breeding. Raising cacti is breeding. My lotus plant collection is breeding. The insects are breeding.
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The way I formed my studio and how I organize things actually came out of the model of the Japanese animation studio and the manga industry. The manga industry is gigantic in Japan.
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Contemporary art and manga - what is the same about them? Nothing, right? The manga industry has a lot of talented people, but contemporary art works on more of a solitary model. No one embarks on collaboration in contemporary art in order to make money. But in the manga world, everyone is invested in collaboration. The most important point is that the manga industry constantly encourages new creations and creators.
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Manga uses Japanese traditional structures in how to teach the student and to transmit a very direct message. You learn from the teacher by watching from behind his back. The whole teacher-master thing is part of Asian culture, I think.
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I've been immersed in manga since I was a kid. I grew up with this culture. So I started to think about how to compare manga to contemporary art.
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Galleries in the West have probably been looking for exoticism. That's the reason my paintings initially sold well, I think. And then once they started selling, people said my works were very detailed. They may have represented something Japanese to them.
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I would like to live to 120, because conceptually, people can survive to 120. Every 20 years, it changes. So maybe, in the next 20 years people can go to space. I don’t know what the next revolution will be. I want to watch.
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My aesthetic sense was formed at a young age by what surrounded me: the narrow residential spaces of Japan and the mental escapes from those spaces that took the forms of manga and anime.