Old is the new new

THE PARADOX OF becoming an artist is that the aspirant has to copy and learn from past and contemporary examples, while seeking an original creative voice. In Japan, there's an additional problem. In their quest to acquire a new vocabulary of expression, many young artists introduce foreign elements into their artwork rather than achieve true originality. Although it creates the required local sensation, such artwork, once introduced to a wider international audience, may end up looking derivative and uninspired.

Despite the technical skills and application that Japanese artists have always possessed in abundance, this has been a recurrent problem for the nation's modern art since its inception. It's also a problem that isn't going away, if the derivative mish-mash of art-college styles usually encountered at the annual shows held to introduce fresh art and artists to the public are anything to go by.

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