TRUE COLORS: Sebastian Masuda

SEBASTIAN MASUDA

RONIN GALLERY

TRUE COLORS SEBASTIAN MASUDA

RONIN GALLERY 425 Madison Avenue, New York, NY 10017 The Largest Collection of Japanese Prints in the U.S. Japanese and East Asian Contemporary Art RoninGallery.com October 2016 © 2016 RONIN GALLERY All Rights Reserved

Sebastian Masuda

In his second New York exhibition, Sebastian Masuda invites his viewer to trade the grayscale of daily life for a movingly vibrant spectrum of color. His work refuses passive observation; it engages its audience and invites them to step into his colorful vision of kawaii. These tactile compositions mark the threshold between the careful, repressed order of reality and the vibrant freedom of the kawaii spirit, one of rich emotion and tangible human connection.

Masuda believes that color is constrained by modern life, confined and muted by expanses of asphalt and gray buildings. For him, color is a powerful vehicle for emotions and its expression is a rare form of rebellion: one without weapons or victims. For the observer to engage in his work is to join this rebellion. Ronin Gallery is pleased to present True Colors: Sebastian Masuda in association with Asia Contemporary Art Week.

Through dynamic multimedia collages, this truly immersive exhibition extols Masuda’s message of “colorful rebellion” against the gray, dark, and disharmony of the world.

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True Colors consists of three distinct series: Colorful Rebellion, True Colors, and Emotion. Masuda began the Colorful Rebellion series in 2011.

Drawing on his vision behind 6%DOKIDOKI, these works do not use paint or typical art supplies.

Instead, they rely solely on commercial objects, from neon Legos to pastel plush animals. In the True Colors series, Masuda embraces the colors often deemed “venomous and too chemical.” He refutes this association, recognizing their legacy in pre-World War II Japan. He believes that these striking colors have been lost to modern society, extracted from the human heart by war. This series reintroduces its beholder to these passionate shades. Finally, in the Emotion series, Masuda expresses his personal kawaii and the emotional undercurrents that fester within each of us. From anger to jealousy, this series acknowledges the intertwined nature of light and dark. Kawaii is not merely external loveliness, rather, it is a rebellion born to combat and balance the darkness. The powerful spirit of kawaii is exemplified in this contrast.

Kawaii is an influential and subversive culture in dialogue with centuries of Japanese popular culture. The idea can be traced back to the Heian period (794-1185), to a new genre of popular court literature that focused on details of daily life. In The Pillow Book, the court lady Sei Shonagon describes “the behavior of a chirping sparrow, the small leaf of a crest...” 1 as utsukushii, referring to simple moments that stirred the heart. During the Taisho period (1912-1926) the utsukushii developed into kawayushi, before arriving at the current kawaii. Throughout its development, kawaii came to describe things that evoke feelings of care, love and protectiveness.2 In recent scholarship, the contemporary kawaii culture is often linked to 1914, to a stationary shop in Tokyo that specialized in “fancy” items.

Today’s movement attracts audiences of all ages worldwide, existing in many different iterations and influences.

While often translated to “cute,” in English, this translation is a misnomer. Masuda’s definition of kawaii is distinct from that which rose in the commercial kawaii of the 1980s. Instead, his definition focuses on a spirit of kawaii, continuing a powerful narrative of Japanese pop culture that bloomed during the Edo period (16031868). Ukiyo-e captured the demimonde of “the floating world,” a popular culture distinct from courtly life. In his work, Masuda echoes the creativity and contemporaneity of the ukiyo-e artists before him, embracing a special, vibrant realm: the kawaii subculture. Within a bright and sensational visual layer, the kawaii spirit is akin to that of the punk or hippie movement, a rebellion against the norms and standards of mainstream culture.

Born in Chiba in 1970, Masuda is a contemporary artist and father of kawaii culture. In 1995, he opened his now iconic store, 6%DOKIDOKI, and his boundless imagination

sparked a unique and thriving community.

Though it began as a display space, collecting cute items and intriguing objects from all over the world, the shop began to shape Harajuku fashion. Characterized by bright colors and youthful and funky clothing, Masuda’s artistic vision permeated Japanese pop culture. Over the past 20 years, Masuda has explored this vision across stage, screen, and museums worldwide. From music videos with pop icons, to a giant Hello Kitty in New York, Masuda’s work revives a childlike sense of wonderment in his audience and impels participation. As his mediums and methods continue to evolve, his collaborative practice remains at the core of his work. Masuda plays on the major channels of pop culture to engage a vast audience in his unique vision. He designs visuals for some of Japan’s top brands, sets for film and theater, and the videos of superstar Kyary Pamyu Pamyu.

An unstoppable creative force and exceptional contemporary talent, Masuda speaks internationally at museums, conferences and other events. His solo exhibitions include last year’s wildly popular Colorful Rebellion: Seventh Nightmare, held in Milan, Miami and New York, and Acchi to Kocchi (2016) in Tokyo. In New York, over 1,000 followers lined up to experience his installation in the winter chill. His ongoing project, Time After Time Capsule, consists of ten enormous kawaii time capsules to be filled with items personalized by the inhabitants of ten cities worldwide. In 2020, each time capsule will return to Tokyo to be assembled into a sculpture for the Olympic Games. True Colors presents the latest evolution in Masuda’s oeuvre, extolling Masuda’s message that “color carries an emotional impact and frees the mind.” He invites the spectator to surrender to this power, to rebel against the darkness, and to “always hold a revolution in your own heart.”

SELECT SOURCES 1. Grau, Oliver. Imagery in the 21st Century. Cambridge, Mass.: MIT Press, 2011. Print.

2. Iwata-Weickgenannt, Kristina. Visions of Precarity in Japanese Popular Culture and Literature.

Abingdon, Oxon ; New York: Routledge, 2015. Print.

3. Okazaki, Manami. Kawaii!: Japan’s Culture of Cute. Munich; New York: Prestel, 2013. Print.

4. Richie, Donald. The Image Factory : Fads and Fashions in Japan. London: Reaktion, 2003. Print.

5. Thomas, Samuel. “Let’s Talk 100 Percent Kawaii!” The Japan Times. 2 July 2013. Web. 13 Sept. 2016.

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Q& A

with Sebastian Masuda Q: Since the opening of 6%DokiDoki in 1995, you have explored your vision across stage, screen, and galleries worldwide. How has your understanding of kawaii evolved over the past two decades?

A: Kawaii has spread all over the world and has created a global social phenomenon. Unfortunately, only the surface aspects have spread.

The spirit of kawaii was left behind, which is very sad. In recent years, my mission is to bring back the core spirit of kawaii and reunite it with the superficial kawaii.

Q: While kawaii is generally translated to “cute” in English, you assert that this doesn’t quite cover the concept. What’s lost in this translation?

A: Kawaii is interpreted as cute in English, but kawaii cannot truly be translated to English. At present, kawaii equals cute, colorful, and childlike. However, the visual layer is only one element of kawaii culture. The most important element, the spirit of kawaii, is lost in the translation as “cute.” Kawaii is close to the spirit of the punk and the hippie, representing the fashion of rebellion against the present state of society.

Q: What do you mean by “colorful rebellion?” What are you rebelling against through your work?

A: The concept of “colorful rebellion” is a means of freeing oneself from the realities of our

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world. My work rebels against our era with no colors—colors that have been stripped away by terrorism, war, stressful societies, and meaningless life. The reintroduction of color frees us. It is better to be free.

Q: The individual elements that make up your collages—plastic toys, stuffed animals, doll furniture—carry connotations of childhood and innocence. Does nostalgia play a role in your work?

A: I am not aiming for nostalgia. In childhood, our world is filled with colors. As we grow into adulthood, the colors we used to see begin to disappear from our everyday life. My work does not look back to the colors of childhood. I’m producing the color with what is available now.

Q: Following your successful New York exhibition Colorful Rebellion: Seventh Nightmare many visitors noted a markedly dark undertone to your work. Is this a direction that you intend to pursue further? Is there a dark side of kawaii?

A: There is a reverse side to the superficial cuteness. Surely, I want to represent this dark, opposing side of kawaii. The two are inseparable, bound in their contrast; the beauty stands out when the dark side exists. I want to express them together.

Q: Have you noticed a different reception of your work abroad versus in Japan?

A: The reactions of Japan and of the rest of the world are completely different. Abroad, people do not hesitate to give their opinion even if it is their first time looking at art. The Japanese audience has a tendency to search for the explanation, to situate the work with the career and awards of the artist, and even depend on an evaluation by a third party before they determine the quality of an artwork.

Q: Who are your greatest artistic influences? Are there any working artists that you particularly admire?

A: Shuji Terayama and Yoko Ono. Q: Ukiyo-e emerged as the popular art of the Edo period, offering its viewers the chance to shape and engage in a popular culture. These works provided a manifestation of the unique culture of the “the floating world.” Do you think kawaii provides a similar means of engaging in and expressing today’s contemporary culture?

A: The word kawaii works as an adhesive between our vast contemporary culture. It unites objects, fashion, and art from seemingly totally different genres. From Hello Kitty, to lunch boxes, to Harajuku fashion, all are connected by the kawaii.

Q: How do you perceive the discourse between contemporary art and pop culture? Is there a clear delineation between the two or are they inseparable?

A: There is a clear purpose of pop culture: to make the recipient happy with an easy-to-swallow message. Here, the end goal is audience satisfaction. In contemporary art, the work challenges the artist and the viewer, the important concern is how to emphasize your message. In other words, [in contemporary art] one must visualize the message and intention.

Q: Your ongoing project, Time After Time Capsule, consists of ten enormous kawaii time capsules that will be filled with items personalized by the inhabitants of ten cities worldwide. In 2020, each of these time capsules will return to Tokyo to be as-

sembled into a sculpture for the Olympic games. In discussing this work, you’ve cited these interactive sculptures as a means of bringing people of many different backgrounds together. Is this an example of kawaii spirit at work?

A: Through this work I am experimenting with whether I can change the world by collecting global expressions of kawaii in one place. Each person has their own kawaii. My expression of kawaii is a microcosm of my favorite things. This is a purely personal expression; the evaluation of others does not intervene at all. In these time capsules, unique, personal kawaii spirits from around the world are collected and assembled.

While the question of how these scattered time capsules will be collected is a big headache right now, this project captures the idea of participation and collaborative art. It’s a journey, with unseen paths, but this is also the best part of this project.

Q: What’s next for you?

A: Lately, I have been making large kawaii installation works to undo the [negative] emotions of the present. In the near future, I want to do a project which focuses on the power of madness that lurks beneath the kawaii to unleash the feelings of people. At first glance, it might appear kawaii, so to say, but I aim to consider the undercurrent of kawaii and compel the audience to experience an emotional response, whether they are happy, begin to cry, or become angry. I want to unhinge emotions and set them free.

“

Kawaii is not necessarily cute. It’s a statement of resistance to the current social environment.

”

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COLORFUL REBELLION SERIES

More is More Wooden panel, plush, plastic toys, glue and acrylic 31� diameter Ref. #: JPR2-56543

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Day Dream Pink #2 Wooden panel, plush, plastic toys, glue and acrylic 29” x 20” Ref. #: JPR2-57611

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Day Dream Pastel Wooden panel, plush, plastic toys, glue and acrylic 40.5” x 29” Ref. #: JPR2-56580

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Chocolate Wooden panel, plush, plastic toys, glue and acrylic 12� diameter Ref. #: JPR2-56582

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Cream Soda Wooden panel, plush, plastic toys, glue and acrylic 12� diameter Ref. #: JPR2-56584

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Pink Bubblegum Wooden panel, plush, plastic toys, glue and acrylic 19.6� diameter Ref. #: JPR2-56586

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Cassis Grape Wooden panel, plush, plastic toys, glue and acrylic 19.6� diameter Ref. #: JPR2-56588

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Soda Blue Wooden panel, plush, plastic toys, glue and acrylic 19.6� diameter Ref. #: JPR2-56590

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Custard Yellow Wooden panel, plush, plastic toys, glue and acrylic 19.6� diameter Ref. #: JPR2-56592

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THANK YOU ALL #2 Wooden panel, plush, plastic toys, glue and acrylic 27.8” x 39.4” Ref. #: JPR2-56609

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Future Wooden panel, plush, plastic toys, glue and acrylic 40.5” x 29” Ref. #: JPR2-56596

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Desire Wooden panel, plush, plastic toys, glue and acrylic 40.5” x 29” Ref. #: JPR2-56594

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Fate Wooden panel, plush, plastic toys, glue and acrylic 40.5” x 29” Ref. #: JPR2-56598

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Gravity 2 Wooden panel, plush, plastic toys, glue and acrylic 19.6� diameter Ref. #: JPR2-56607

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Bear #2 Wooden panel, plush, plastic toys, glue and acrylic 29” x 20” Ref. #: JPR2-56600

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Rabbit #2 Wooden panel, plush, plastic toys, glue and acrylic 29” x 20” Ref. #: JPR2-56602

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Pink Wooden panel, plush, plastic toys, glue and acrylic 12� diameter

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TRUE COLORS SERIES

Satsuma Wooden panel, plush, plastic toys, glue and acrylic 29” x 20” Ref. #: JPR2-56619

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Pink Grapefruit Wooden panel, plush, plastic toys, glue and acrylic 29” x 20” Ref. #: JPR2-56617

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Peach Wooden panel, plush, plastic toys, glue and acrylic 29” x 20” Ref. #: JPR2-56621

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One Bite #2 Wooden panel, plush, plastic toys, glue and acrylic 13” x 13” Ref. #: JPR2-56613

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One Bite #3 Wooden panel, plush, plastic toys, glue and acrylic 13” x 13” Ref. #: JPR2-56615

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EMOTION SERIES

Jealousy #1 Wooden panel, plush, plastic toys, glue and acrylic 19.6� diameter Ref. #: JPR2-56559

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Jealousy #2 Wooden panel, plush, plastic toys, glue and acrylic 19.6� diameter Ref. #: JPR2-56571

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Destroy #1 Wooden panel, plush, plastic toys, glue and acrylic 19.6� diameter Ref. #: JPR2-56573

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Destroy #2 Wooden panel, plush, plastic toys, glue and acrylic 19.6� diameter Ref. #: JPR2-56575

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Anger #1 Wooden panel, plush, plastic toys, glue and acrylic 19.6� diameter Ref. #: JPR2-56555

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Anger #2 Wooden panel, plush, plastic toys, glue and acrylic 19.6� diameter Ref. #: JPR2-56557

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Acknowledgements Artist: Sebastian Masuda Studio Manager: Mika Kitamura Production Staff: Yuri Yoshida, Tsuyuki Tae, Sakura Kumazaki, Ryo Fujishiro Art Management: Nao Tazaki Artwork photography by KIRA

Ronin Gallery would like to extend a special thank you to Stephen Globus for his support and providing accommodations for Sebastian and his team at Globus Washitsu.

RONIN GALLERY 425 Madison Ave New York, NY 10017 212.688.0188 www.roningallery.com ronin@roningallery.com Chairman: Herbert Libertson President: David Libertson Executive Director: Roni Neuer Director: Tomomi Seki Assistant Director: Travis Suzaka Research Associate: Madison Folks Gallery Assistant: Sayaka Ueno For additional information on any work, please visit RoninGallery.com

RONIN GALLERY 425 Madison Avenue New York, NY 10017 The Largest Collection of Japanese Prints in the U.S. Japanese and East Asian Contemporary Art