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the artists - Mitsuo Toyazaki, Japan

Importance of Japanese culture in my work

I have deliberately tried to look at “Arts and Crafts” at certain periods in the past as a whole without systemising them into different eras and regions. There were three reasons for this: I wanted to become more aware about the feelings and experiences I had not been able to put into words clearly. The second, although I have my own points of reference, I wanted to understand more about the merits of these different eras or regions. And finally, I wanted to get some hints for my own work.

Overall, comparing the eras and regions, there are those that stand out more than others but it is not possible restrict this to a particular best time or place. Japanese artefacts from the past can move you just the same as, for example, items from the Egyptian or Inca civilizations, or paintings by impressionists or pop artists. For me the appeal of arts and crafts lies in the strength of expression that each individual era or region possesses. Even today, I think that it is essential that things have a regional flavour.

In addition, the more I look at things the more I realize that I have likes and dislikes in art and craft, and this has a connection with Japanese culture. When I first started working, I wasn’t aware of it, but I have discovered an aspect of “Japanese-ness” in my own work. Recently, I have been working to understand “Japanese culture” better and have been leaning towards historical Japanese forms in my own work.

How do I express Japanese culture in my own work?

It is not possible to express Japanese culture simply, but I want to explain something about its characteristics. First I’d like to touch upon flatness, two dimensionality and lack of solidity of things. This gives rise to a symbolism in simplicity. In Japanese art and crafts, you can frequently see decorativeness and realism coexisting. As I work I have a two dimensional image in mind as I proceed. 

Secondly, my way of approaching my work is to entrust the shape to the materials, then experiment with the method and techniques and finally work in tune with nature - self expression is not my primary objective. I generally work by focusing on the method and materials. Personally I am drawn to woodblocks or prints which are produced through the medium of tools or a machine rather than painting directly on the surface.

Thirdly is comparison; in haiku poetry, often one thing is expressed by reference to another. This is not a simple case of metaphors but like a play on words; within the unexpected you can find the inevitable. Unexpected qualities of the image in front of you or multiple meanings from the title or words can arise.

And as far as possible I do these things, working using simple methods avoiding excessive actions that in turn produce excessive expression. As I work a new meaning emerges over and above my own intentions, I hope to bring into existence the unique beauty of each work.

Recognising the influence of other cultures in my work

Throughout history, Japanese culture has been influenced by other cultures. The influence of China and Korea goes without saying but recently that of Europe is strong. With the exception of the era when Japan was isolated from the rest of the world, we have quickly absorbed other cultures and over time moulded these into our own style.

I am influenced by historical works, which have already been influenced by Chinese culture. When I started first started making dyed works, I researched into dyeing, and as a result, I began to think about the many things that originated in India. Buddhism, in particular, which forms an important part of the Japanese psyche, originated in India.

I believe that crafts, art and design cannot be clearly delineated, and within these fields there are many different points of view. My style, if you wish to label it would come under art, but many of my works incorporate craft techniques and aspects of design. Initially my purpose was design, then craft and later I leaned towards art.

I have been influenced by art movements such as Dadaism, Pop art and Fluxus. I was deeply impressed by the work of Yayoi Kusuma in New York of the 1960s, and an exhibition I saw in Tokyo in the 1980s of modern British art. Since the 1990s, I have been influenced by British artists who gather up unwanted everyday items and use them in their works.

Is the influence of other cultures on works a good thing or a bad thing?

In the society of global information, it is impossible not to be influenced by other cultures. Influence itself can be a force for good or bad. To try to create a barrier against these influences is impractical today. Among so much information it is even more vital to have individuality.

In eras where there was less information, it was possible to maintain a culture which was restricted to one region and this remained unchanging over time. There would be very little change over the course of one person’s life. These days change is rapid and expression has become very varied. If you search among these many ways of expression, for things that are unchanging, for Japanese people at least, this means Japanese culture.

Back in the 1980s I saw the work of one British artist, and this piece looked to me as if a Japanese person ought to have created it; I had discovered something Japanese in a work from another country. Not only do we admire other cultures, but other cultures also look towards Japanese culture, for example, the philosophy of Zen which is widely known. Looking at works from other countries where Zen has formed the inspiration, it seems that perhaps Japan can be taught something about Zen.

JAPAN

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