I thought such "shallow and deep" motifs were suitable for the specious illusion of the tricky techniques of oil painting of its prime." Like in the case of scrawl others, shit and knives were the principal motifs of scrawl in my childhood. In my view, such painters, as for example, Velazquez and Rubens, have a closer affinity with ILM (an SFX group in Hollywood) than Picasso or Rothko do, in a sense more interesting to me. However, I didn't want to paint angels, and eventually the work turned out to be this. But at such moments I seldom feel the necessity of taking into account the orthodox history of painting that great art historians maintain. "I like to see old Western paintings, especially Baroque paintings, and sometimes feel like painting in oil myself. While Makoto oeuvres present a consistent trace of manga, he also endeavors to practice institutional art, affirming further the diversity of his artistic capacity. However, his works do not surface as a mere illustrative likeness to manga but the compatibility between the artist and manga attest otherwise as the viewer recognizes the efficiency in the simple form and contour of manga in transmitting Makoto's impulsive ideas. Makoto was certainly an artist nurtured by this unlimited realm of manga, exhibited through his many oeuvres that exude its illustrative roots. Manga's peculiarity in presenting a less perverse content in comparison to the raw actuality of the subject itself it sensitively makes these crudities seem excusable, hence marking its infinite sphere as the ideal place for expression. His decision in conveying such scrutiny only seemed plausible in the sequential, collective and liberating elements of manga. Makoto, in resistance to the misuse of Japanese pop culture by the former artistic movement of New pop, was a part of Group 1965 formed in 1995, whom deliberately contemplated on the banal and transient nature of Japanese domestic life. The enormous Ash Color Mountains (2009–11) shows the corpses of hundreds of salarymen, each depicted in loving detail, on vast gray tumuli.Depicting his personal fantasies, Aida Makoto reveals his psychological state that may appear alarming to viewers with the vulgarity of the subject matter, but conversely, this precise integrity is what grants him his legacy as the prime figure of Japanese Contemporary Art. In the battle for urban cultural life, Aida’s principal enemy is the gray-suited “salaryman,” whose conformism and lack of individual spirit he abhors.
Its drawing style alludes to the work of Tsukioka Yoshitoshi (1839–1892), an artist often dismissed as “decadent” because of his violent subject matter, madness, and Western influences. Harakiri School Girls combines the fetishistic fashions and nubile bodies of fantasy schoolgirls with the time-honored samurai practice of ritual suicide.
Makoto Aida’s work blends social critique with a nihilistic humor that is tempered by his respect for the styles he lampoons. Education: 1989 Tokyo University of the Arts, BFA in painting 1991 Tokyo University of the Arts, MFA in painting (Oil Painting Technique and Material Studio)
0 kommentar(er)
