Japanese artist Yoshitomo Nara says Hong Kong is like a tasty bowl of noodles
Yoshitomo Nara's unique perspective on life is reflected in his view of the city as a bowl of noodles - and in his first solo exhibition here
To Yoshitomo Nara, Hong Kong is like a bowl of fried noodles - and a delicious one at that.
The Japanese contemporary artist visited the city last week to launch his first solo exhibition here, one of the first in Asia outside his home country. His signature witty, doe-eyed images of childlike creatures are on display at the Asia Society in Admiralty until July.
"As compared to Tokyo, New York or London, Hong Kong is a very different city. It is located in a small bowl, and there are so many different things," Nara says as he makes a sweeping gesture with his hands. "I'm not only talking about the blending of east and west. There are so many different elements in Hong Kong that it's like a very tasty bowl of mixed fried noodles."
And his unique perception of his surroundings isn't limited to his take on the city. Nara is also an acute observer of the minute details of everyday life. His exhibition features a video montage of photographs capturing small moments: a plane taking off, smiling children, flowers, animals and patches of light. Sweet acoustic guitar plays in the background; he stresses that punk, with which he is often associated, is not the only music he likes.
Watch: Nara on how his art has changed over the years
The photographs don't just record the physical environment. Taking pictures of everyday life is a process of reconfirmation for the 55-year-old artist. It captures the essence of himself - his senses and subconscious feelings in that moment.
It is the emotional and beautiful moments of life that remind people of life's impermanence, according to traditional Japanese aesthetics. Echoing that spirit, Nara's exhibition is entitled "Life Is Only One" - a theme that reflects the transience of life.
Most of the works on display feature a childlike figure in action or showing a particular emotion. While a girl with an angry stare has been his iconic work, his characters have become more subtle in recent years, especially after the 2011 earthquake, tsunami and nuclear disaster in his home country.
"I have become more serious after the earthquake. In the past, I created things out of fun. Sometimes they are based on a momentary emotion such as sadness. Now I want to think about how to overcome the sadness with something powerful," he says.
His search for permanence is reflected in artistic details.
"Before the disaster, everything was more exaggerated, including the structure and emotional expression. Now in my paintings, the facial expression is quite mute. You can't tell instantly if she is angry or smiling."
Long-term fans of his work will see other signs of the disaster's influence.
"Before I was not interested in bonfires, but now I like to stare into the flame," says the native of Aomori, northern Japan. He has also taken his cue from snowy scenes. Look closely at the white he uses in his art and you may notice a slight blue tinge.
"Only 100 years ago, Asian people were very close to the threat of nature. They were more humble at that time," he says. But technological advancement has seen people lose their awe at nature. "Disaster reminds modern people how mighty it can be."
Most of Nara's art focuses on a single figure, and the artist admits he is not good at human relationships. "People always worry about relationships," he says. "I do better with dogs and cats."
Although people relate his work to teenage angst in Japan, the artist says his expressions are more personal than social.
When people used his 1998 painting of a girl holding a "no nukes!" sign to protest against nuclear power in 2012, the pressure weighed heavy on him.
"No nukes is my philosophy. I should be happy people support my cause. But I felt tremendous social responsibility," he recalls.
Now, the pressure has subsided. "As long as it is down to my ethics and morality, it should be good enough."
