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Yoshitomo Nara b. The exhibition ranges from early experimental works on paper and a number of paintings and sculptures to an expansive installation. Nara grew up in Aomori Prefecture in northern Japan. His parents both worked, and his much older brothers were often away from home.
A classic latchkey kid, Nara spent a lot of time alone. At some point, he stumbled upon a radio station of a nearby American airbase and was introduced to country and rock music. This was the beginning of his great passion for music. Without understanding a single word of the English-language songs, he tried to make sense of their content by looking at the record covers, and he began to imagine what the texts were about through intonation, sound, and rhythm.
Penck and spent the next twelve years in Germany, a foreign land. He often felt reminded of the loneliness of his childhood days. It was during this time in Germany, in the seclusion of the studio, that Nara gradually arrived at his individual expression and own artistic concerns. Similar to American Pop Art, it is an anti-hierarchical fusion of high culture, subculture, and everyday culture. While this is may be true for Nara's work to a certain extent, the superficial kawaii serves mainly the purpose of interaction and establishing contact.
His drawings are a means of communicating in an equally anti-hierarchical way with expressions that can be understood by everyone: not elitist, informal and direct. Behind what seems to be innocent or even cutesy creatures at first glance hides a punk attitude—in a critical rather than in a destructive sense: these are strong little personalities who question things, rebel, and do not put up with anything; who defy the adult world and, somehow, their own growing up; who reveal their opinions and feelings with an honesty and authenticity that is unique to children, and who are allowed to have such opinions and feelings.
