December 16, 2012

"活版印刷機・Kappapress" - Printed Matter - A Show of Multiples

















































Here's my piece for this year's Printed Matter Show titled 河童印刷機 (Kappainsatsuki) or Kappapress, which will be on display starting December 17 (4" x 6", letterpress w/ acrylic ink). 

When I was invited to be a part of this show a few months back, I immediately thought of creating some letterpress prints. I have always enjoyed making letterpress prints because of the old-school look and feel, something that just cannot be replicated by modern printing techniques, which is the reason why many designers & artists are fighting to keep this process alive.

So I was thrilled to meet a design studio that also provides letterpress services right around the same time. Not knowing what "letterpress printing" was called in Japanese, I asked and thought I heard "kappainsatsu", when it was actually "kappaNinsatsu". That thrilled me as well because a "kappa" is a mythical aquatic monster often used in fairy tales to scare kids. I didn't think to fact-check because I thought it was just so damn cool. So as I started to create this piece, I was shocked and shattered to find out that it was in fact "kappaninsatsu", not the cool monsteresque image I had built up in my head.

But after a good laugh about this misunderstanding with the designers, I decided to portray that story itself, and combined a letterpress machine and made it monsteresque by adding more body parts and an arm. I must say the resulting pieces turned out better than expected. I created a few one-off prints with acrylic color strokes (shown above) to be sent to Giant Robot, and also a limited run of 100 prints in black and white. The black and white prints are also printed on darker paper and look like old-school anatomical etchings, and will be available to purchase online soon. Stay tuned!

*Special thanks to the Achirabe Studio in Meguro for their big help in printing these!







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From Giant Robot: http://www.giantrobot.com/events/gr2-121712-1913-printed-matter-reception-sat-dec-22nd/


FOR IMMEDIATE RELEASE – Printed Matter – A Show of Multiples
Dec 17-Jan 9th, 2013
Reception Saturday, December 22th 2012, 6:30 – 10:00 p.m.
Giant Robot 2
2062 Sawtelle Blvd.Los Angeles, CA 90025
gr2.net (310) 445-9276
Andrice Arp, Apak, Aya Kakeda, Bigfoot, Bradford Lynn, Bubi Au Yeung, Christopher Chan, Dan McCarthy, Danni Shinya Luo, Darth Rimmer, David Horvath, Deth P Sun, Elliot Brown, Gabe Gonzales, Gary Musgrave, James Chong, Jay Horinouchi, Jay Ryan, Jeni Yang, Jeremiah La Torre, Jesse LeDoux, Jesse Tise, Jiyoung Moon, Kaori Kasai, Ken Taya, Kerry Horvath, Kevin Luong, Kio Griffith, Louise Chen, Mare Odomo, Mari Inukai, Mark Ingram, Masato Nakada, Miso, Nick Arciaga, Sara Saedi, Sashiko Yuen, Scott Wilkowski, Seonna Hong, Shawn Cheng, Shawnimals, Shihori Nakayama, Sidney Pink, Stasia Burrington, Tessar Lo, Tru Nguyen, Yejin Oh, Yumi Sakugawa

Growing Documentary - "Tohoku 2.0" by KMD

TOHOKU2.0 from KMD 4KNarrative on Vimeo.

A great little documentary the Keio Media Design kids have been working on for over a year. As a "Growing Documentary", the film is not yet complete, will not be complete as new perspectives and current updates are added to the film as time goes on. The doc interviews myself and some of my good friends/teammates from up North, and portrays many good things, as well as the sad current situation that not much has changed as well. There isn't much media coverage of the current Tohoku situation these days, so it's great that this was released and shared on the internet recently. Please feel free to share.

Credits:
Producer : Naohisa Ohta
Directed by : Kan Kenta, Annisa Mahdia
Cameraman - AD : Kan Kenta, Jennie Feyen


Collaborators for Tohoku 2.0:
Cameraman : Christian Nakandari, Jennie Feyen
Photographers : Nakamura Yukoh, Kensuke Mori
Story : Kentaro Nagase, Jay Horinouchi, Liz Maly
Volunteers : Ryoko Suzuki, Alysse Rathburn, Akihiro Yamamoto, Risa Tamura
BGM : Auxillu - 04 - Tessera


Thanks to: 
Keio University, Nippon Foundation, Nikkei Youth Network, Gakuvo, Good!, All Tohoku Volunteer


June 6, 2012

The Tree of Mana - "Game Over" show @ Giant Robot

In conjunction with the international video game convention E3, Giant Robot has brought back another installment of their Game Over show series. Game Over is a big group show showcasing artwork inspired by video games, an electronic form of art we all grew up playing. Inspiration ranging from indy games to mainstream games, over 80 artists created artwork using a wide range of media. With the show opening this past weekend, it was a perfect scene with so many gamers in town for the E3 convention, as well as LA being a natural habitat for gamers with so many game companies located in Southern California.

Tree of Mana - 10" x 20" - Acrylic ink on maple.


For my piece, the Tree of Mana, I decided to pull inspiration from one of my favorite games of all time, the Secret of Mana. I used to play a ton of RPG's as a kid, and this game stands out in my memory and revolutionized the way I played and viewed games from then on. The story is very much relevant as well, as the antagonists are exploiting the natural resources, mana, to create weapons of mass destruction to kill off the world. The protagonist must travel the world to fight and save the mana trees and the world (or something like that, I think...). This nature vs technology, urban vs conservation, is something that I wanted to explore through this piece and is something very relevant globally right now.


Reminiscing back on these old games, it really makes me think that these games really are remarkable pieces of art, in it's own way. I used to spend countless hours immersed in these fantasy worlds, losing track of time until I would get scolded to go to bed. Even then, I would hide and continue to play if I could get away with it. If I can create that kind of world with my own art, where the viewer might lose themselves even for an instant in my work, then I would think my art has succeeded. Hopefully that is what I achieved with this piece as well.

Inspiration: Original Secret of Mana artwork by Hiroo Isono.


With details that mimic the feel of discovering many intricacies in a dense rain forest, I immediately fell in love with the artwork from the game. Hiroo Isono is a highly regarded illustrator here in Japan, and has played a key role in creating the look and feel of many video games, specifically RPGs. In my opinion, he is to video games what Eyvind Earle was to Disney. I even had the original poster for this game tacked to my wall. Working on this painting really reminded me of my childhood playing video games, and also reminded me that part of the reason I chose to pursue art was because I fell in love with the artwork involved in video game development.

"Tree of Mana" is still available - purchase here!







The GR press release:


FOR IMMEDIATE RELEASE – Art Exhibition at GR2
Game Over
Video Game Culture Art Exhibition
June 2 -  June 27, 2012
Opening reception Saturday June 2th 2012, 6:30-10pm
GR2 – 2062 Sawtelle Blvd LA, CA 90025 www.gr2.net 310 445 9276
Giant Robot 2 (GR2) presents: Game Over
Video Game Culture Art Exhibition
Artists include:
Aaron Brown, Albert Reyes, Alex Chiu, Ana Serrano, Andrice Arp, Aska Iida, Bradford Lynn, Brian Luong, Bryan Wong, Bubi Au Yeung, Cam Floyd, Carlos Donjuan, Christopher Chan, Cory Schmitz, David Horvath, Devin McGrath, Elizabeth Ito, Elliot Brown, Eric Broers, Erin Althea, Gabe Gonzales, Gary Musgrave, Grant Reynolds, Heidi Woan, James Chong, James Kochalka, Jarrett Quon, Jay Horinouchi, Jeni Yang, Jeremiah La Torre, Jeremy Tinder, Jeremyville, Jeromy Velasco, Jesse Balmer, Jesse Fillingham, Jesse LeDoux, Jesse Moynihan, Jesse Reklaw, Jesse Tise, Jiyoung Moon, John Lau, Kerry Horvath, Kevin Luong, Kio Griffith, Kwanchai Moriya, Lawrence Yang, Linda Kim, Louise Chen, Luke Chueh, Luke Rook, Maiko Kanno, Mare Odomo, Mari Inukai, Mark Ingram, Martin Hsu, Matt Furie, Meatbun, Miso, Nick Arciaga, Patrick Kyle, Peter Kato, Philip Koscak, Renee French, Sana Park, Sara Saedi, Sarah Lee, Sean Chao, Shawn Cheng, Shiho Nakaza, Shihori Nakayama, Sidney Pink, Silvio Porretta, Stasia Burrington, Stephanie Kubo, Theo Ellsworth, Tru Nguyen, Yejin Oh, Yoskay Yamamoto, Yumi Sakugawa and more.
Also there will be playable indie games including the works of programmers Beau Blythe and Shelby Cinca who are creating a game with Sean Chao and Jeni Yang. It’ll be a welcome back to ArtxGames series.
Giant Robot was born as a Los Angeles-based magazine about Asian, Asian-American, and new hybrid culture in 1994, but has evolved into a full-service pop culture provider with shops and galleries in Los Angeles as well as an online equivalent.



November 19, 2011

Gareki Paintings

Gareki (瓦礫) is the Japanese term for the debris, and clearing away the gareki caused by the tsunami has been one of our main duties as volunteers in the Tohoku. Literally translated, it means debris or trash, and ultimately we do treat it as such, but I feel it is important to remember where this gareki came from. Especially since most of the debris has been cleared and cleaned away, we're finding less and less debris to work with.

It's sort of an ironic feeling not have gareki to dig and hold in your hands anymore, because holding the scraps of wood/concrete/glass/metal was a constant reminder of what we were doing, and it grounded us in our duties and didn't let us forget who we were doing this for. But these days we have a hard time finding big chunks of debris, unless we put some effort in digging them out of trenches and ravines. So a big part of what we do is supporting the fishermen and clean-up work after bulldozers do their thing in different areas. In a way, the disaster zones have become a very tranquil environment with weeds growing over everything leaving open fields of green alongside beautiful coastlines.

It is indeed a wonderful thing that the debris is almost gone, as one can gauge that as a milestone for Tohoku recovery. But it also gives things a little twist, and people forget that there is still a lot of work to be done. The Tohoku still desperately needs our help. Just because we can't see their needs directly in a tangible way, doesn't mean needs don't exist. Especially since a lot of time is about to pass since the initial disaster in March, a lot of people are reaching their breaking points and need emotional and mental support.

We can't forget about the Tohoku and pretend or assume that everything is A-okay now. We can't assume that for many places around the world that are suffering as well. Let's not forget that this gareki used to be someone's home, someones playground, someones car, someones life savings, someones memories. Generations lived in these houses and many kids were raised within these walls before they were turned into piles of debris. And all in a matter of moments. People's lives also disappeared in a matter of moments.

I created this series called Gareki, and hopefully with more to come, in hopes that these paintings will serve as a visual reminder of what these debris symbolize. I tried to express some of the things and emotions I've felt spending time in Tohoku, and the paint that I actually used in this series is actually paint that I dug up out of the rubble. Little jars of poster color just popped out of a mound of dirt I was carting away one day, and there was no way I could figure out where it came from. And we were told to throw away anything we found. So I felt there would be even deeper meaning if I could create artwork depicting gareki, if I painted with gareki as well.























June 22, 2011

Road Project: Mission #4 / ROADプロジェクト第4陣

Gakuvo x NYN Road Project Mission #4: Ojika Peninsula

I've been lucky and honored to be able to be a part of the Nippon Foundation's disaster relief project called the Road Project, which invites college students from all over the nation to take part in relief efforts in the disaster stricken Tohoku area of Japan.

The really awesome part of this project is that Gakuvo, the Foundation's college volunteering organization, jointly with the Nikkei Youth Network (NYN), has been getting international students from all over the world involved in this project as well. These pictures are from mission #4, which happened during golden week (May 3-7), which was also my first mission as a team leader and translator. On this mission alone, we had about 30 international students from 20 different countries from all across the globe, out of about 100+ Japanese University students.



6:30am bus taking us through the main devastation of Ishinomaki City, but most of us were still sleeping. We arrived the night before around 10pm after an extremely long bus ride. Usually takes about 7 hours, but was a little longer because of golden week traffic. Everyone went to bed quickly after a quick group meeting about safety and tasks, but leaders had to stay up to solidify our game plan and perform equipment checks. We all woke up by 4:30am.



The devastation was so surreal, it's so easy to lose track of your thoughts and reality. This gas station easily grounded us, at the same time slammed into our faces the gravity and the seriousness of the situation. Yes, it's a gas station with debris, cars and a whole house jammed into the filling area.



The main bridge we crossed before entering the Ojika Peninsula. The Ojika Peninsula is the piece of land that juts out from the Miyagi prefecture, which is the closest piece of land to the initial 9.0 epicenter.



The Ojika Peninsula is dotted by many small fishing villages tucked into little valleys like this. But because they are all in little valleys, it made the tsunami surge up even higher and cause even more damage. We passed a bunch of little villages like this. Or what used to be villages.



View from my window on the bus after we parked. This giant barge washed up from being swept away from Ishinomaki City about 10 nautical miles away. Barge is still there today.



Other side of the bus are the remains of a lumberyard.



Lumberyard most likely was a large warehouse type setting with sheet metal roofing and steel beams. We saw none of that in this area. But you can see steel reinforced concrete utility poles that washed up in it's place.



Our morning rally point after driving about 1.5 hours. From this point on, the roads were too destroyed for our buses (which were kindly donated to us by the Seibu Lions baseball team), so we waited here for the local fishermen to come pick us up in their pickup trucks. If I remember correctly, there were about 8 houses in this open area, in which half of the residents did not survive.



Two of my teammates silently assessing the damage. Right in front of them used to be a concrete tsunami wall which probably stood around 8-10 feet high, which absolutely nothing remains. Next to them is a giant hole that was not there before, which was probably bored out by the power of the tsunami after the wall was gone.



Tsunami walls, houses, even trees did not stand a chance against the tsunami.


A close-up of the trees in the previous picture. If you look closely to the tree on the right, it's missing most of it's lower bark, with a chunk missing toward the top. That's evidence of how high the tsunami wave was. The top chunk is about 15 feet up, and we're about 5 feet up from the waterline, which means the tsunami was at least 20 feet high in this area. It was a very humbling moment when I realized this.



Pieces of houses, walls, boats, trees scattered yet all entangled together was a sight that we got used to.



This is a little Ainu (Japan's northern aboriginal people) sculpture found in the debris and wreckage. Another humbling thought that hit us was, the debris and "junk" we were looking at, all used to belong to someone. It used to make up someones house, it was someones valuable possessions just a few weeks ago. Even if we were ultimately throwing them away, we were told to handle everything with respect.



We donned on all our gear, not knowing what we were heading into, and hopped onto the back of trucks to be shipped off like troops. Initially thinking we were going to be shoveling mud the whole time, we actually weren't told what we were going to do until we got to our separate locations. From this point our teams split up and dispersed to work at 5 different villages.



We certainly were all pretty nervous at this point. The night before, we were told that we were the very first volunteer to actually set foot in this disaster zone. The SDF (army) soldiers were still looking for bodies at this point, so we were the very first outsiders to touch the devastation with our hands. Which also means no one was there before us to clear out the dangers and clear the way to make work easier for us. Our biggest concern was rusty nails and tetanus. We were literally walking around in a mine field of rusty nails.



This view used to be full of houses and buildings which made up a big portion of this fishing village.



This road to the left leads up to this village's evacuation center, where a bunch of people still live today. It goes up pretty high, and was our designated rally point in case we were hit with another big quake. Big quake = tsunami = run for your life.



For some reason this random sight of a mailbox going through some sort of sign on a bed of oyster and scallop shells stayed in my mind. The Ojika peninsula used to produce some of the finest oysters in Japan, and is going to take years to revive. The fishermen initially told us it might take up to 10 years before everything is back to normal. 10 years.



Our first work site. Our task was to sort the debris in this area and salvage any fishing equipment not too damaged. We were told to enter the half collapsed buildings in the back... only to be told by our overseers who came around, that the buildings were too dangerous. If an aftershock came, the whole thing might fall on top of us.



So we decided to have lunch while we changed our strategy. Lunch for the next few days: calorie mates and soyjoys.



So it was decided for the rest of the week, we would work closer to the water salvaging shells, buoys and other fishing equipment. This photo was taken atop a mountain of oyster shells (the smell was excruciatingly horrid) where we worked on day #3. The ovoids are the buoys, and cost over $100 each. So we tried to salvage as many as we could. I think we collected a few thousand total.



My team #5, at one point, was asked to salvage buoys floating in the water just out of reach in this bay. So we built little bridges and unstable rafts to get to them, but 4 of us fell in the water anyway (including me). The water at this point was still very black and foul, so I'm sure we didn't smell very pleasant afterwards.



This was all very hard work. Lifting, dragging, carrying, moving... so some of us tried to squeeze in naps anywhere possible.



Team #9 was on a different schedule than us, so they were working while we were taking our lunch break. You can see them salvaging blue baskets from atop trees. A very odd and surreal thing to see, but in reality the tsunami washed the baskets away from the oyster processing facilities and they would get caught up in the trees.



It was May already, but the Northeast get their cherry blossom season later because it warms up later. This sakura tree most likely was submerged and swallowed up in the tsunami, but survived. I think seeing the cherry blossoms gave us all a boost of energy to work harder.



3 of my kids from team 5. From L to R, Gengo from Kyoto, Yoshi from the Self Defense Academy in Yokosuka and Nogi from Tokyo. We had one girl fly in from Okinawa just for this trip too.



I am extremely proud and glad that my first team was this team. I learned so much from them, and made me want to continue volunteer efforts in any way I can. Thank you, team 5.



Teams 4, 5 and 9 (out of a total of 11 teams). Our job was to help the village of Makinohama in any way possible, and many times we were just caught up in laughter and stories by the local people of Makinohama. They were all so kindhearted and caring. I think this was a very emotional trip for a lot of us, seeing the devastation first hand and being in that environment really is taxing mentally and emotionally. So being able to interact and have fun with the local people really boosted our spirits and kept us mentally and emotionally healthy.



Team 5 after our very last task of recovering scallop shells from muck. We didn't think we could get this done, had about 45 min left of our day, but we were able to work as one and got it done. The shells are strung on some wire so they look like necklaces, so when they become covered in mud, they can weigh about 50lbs each. Each string had about 30 shells each, but when we were done, we probably recovered several thousand.



Walking back to our main meeting area, we had time to really take in some of the devastation.



The stairway in the middle leads up to the village's temple, which probably dates back several hundred years. The village's ancestors knew to build on high ground, and that high ground is the only safety to tsunamis.



Washing tsunami mud off our boots in the bay. Tsunami mud, called "hedoro", is extremely tough to get off. It's almost a mixture of clay, mud, tar and smells like rotting fish.



Our main overseer Tadano-san and main village recovery leader.



One last team 5 group shot in front of the B&G center in Oosato, where we stayed for one week for free.


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Thank you Makinohama. All of us of team 5 made a vow to return one day, to Makinohama, and eat oysters with the town folk. It may take up to 10 years, but we all will be reunited. Until then, we will never forget you, and will continue to help the Tohoku.


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May 10, 2011

Sakura #2



Sakura #2 - Ink on wood, 10" x 20"

A little delayed, but here's the scan of the painting I did for my VIVA!Tokyo event last month.

From the title, obviously, I was inspired by the local cherry blossoms to create this piece. As I was running around all over Tokyo like a madman, planning and setting up the VIVA!Tokyo event, I often took little breaks and breathers just to enjoy the cherry blossoms. This was the first time in my life that I was able to experience a full sakura season from start to finish, so I was quite thrilled to be able to witness the life cycle of a cherry blossom. But it wasn't the beauty of these seasonal flowers alone that inspired me to create a painting based on sakura. The nation of Japan is currently struggling to get back on it's feet following the largest earthquake to devastate this island nation, and the cherry blossoms couldn't have come at a better time to cheer this nation up. All year long, people long for and look forward to be able to hana-mi (cherry blossom picnic parties), and just be drunk and merry. The Japanese people truly love this season and these pink flowers.

But because of the large scale of devastation, death and people affected in the aftermath of this natural disaster, the government was calling on the people of Japan to show restraint, and not celebrate the cherry blossoms this year. Indeed, it is inappropriate to be drunk when there are people suffering and in need of aid in another part of Japan, but I personally felt that this was exactly what this nation needed, in such a dark time. I'm not saying we should be obnoxious and forget what's going on, but we are suffering as a nation, and we should be smiling every chance we get to lift up those around us. And what better way to remember the Touhoku than to have a party dedicated to the Touhoku. We can buy foods and sake produced in the areas affected and devastated, to help their local businesses, and also spread that spirit to others. Sake breweries from affected areas even posted messages on YouTube saying that's the best way to help them recover, to buy products and to keep them in business.

Obviously, this is easier said than done. The Japanese people are a very subdued culture and do not like to stand out, so this sakura season came and went without much fanfare. So I was inspired to create this painting to keep the hana-mi spirit alive, remember those in need of our help, and also not to forget to enjoy the moment and smile once in a while.

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April 16, 2011