{"id":29318,"date":"2023-04-06T16:48:09","date_gmt":"2023-04-06T07:48:09","guid":{"rendered":"https:\/\/kiaf.org\/?post_type=insights&p=29318"},"modified":"2023-04-06T16:49:55","modified_gmt":"2023-04-06T07:49:55","slug":"in-this-age-where-we-pay-taxes-just-to-breathe-i-wish-seeing-my-works-brings-happiness","status":"publish","type":"insights","link":"https:\/\/kiaf.org\/en\/insights\/29318","title":{"rendered":"In This Age Where We Pay Taxes Just To Breathe, I Wish Seeing My Works Brings Happiness"},"content":{"rendered":"

ARTIST INSIDE 2022 | Backside works.<\/p>\n

In This Age Where We Pay Taxes Just To Breathe, I Wish Seeing My Works Brings Happiness<\/strong><\/p>\n

Based in Fukuoka, Japan, and active since 2017, Backside works. is a self-described subculture artist.
\nRather than aiming for high-end art, the artist incorporates subcultures such as anime and graffiti art into his work.
\nHe enjoys working with pen-and-ink and spray painting, and he often collaborates with fashion brands to create unique otaku-inspired characters.
\nThe motif of his work is always cute girls, but the artist says, “I draw ‘heroines’, not girls.”<\/p>\n

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Backside works., \ubc31\uc0ac\uc774\ub4dc \uc6cd\uc2a4., Yaburekabure blue, 2022, mixed-media, 72.7 \u00d7 60.6 cm<\/figcaption><\/figure>\n

Why a heroine and not a girl?<\/strong><\/p>\n

The heroine is what is most important for the hero. I don’t want to draw a cute girl, I want to draw a female protagonist who is indispensable to the male protagonist. To me, a heroine is someone with whom you can share a life story, and I want to give the audience a heroine who will make them the hero.<\/p>\n

But you don’t draw heroes though.<\/strong><\/p>\n

I love heroes, of course, but I want to draw what is important to me. As for men…let’s say I’m not prepared to draw them yet.<\/p>\n

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Backside works., \ubc31\uc0ac\uc774\ub4dc \uc6cd\uc2a4., Suketoudara, 2022, Mixed media, 100 \u00d7 71 cm<\/figcaption><\/figure>\n

I’d like to know how you paint so that the brushstrokes are invisible.<\/strong><\/p>\n

First, I imagine a story in which a heroine is likely to exist, like in an animation. And I try to make it as \ufb02at as possible with the technique of animation. So, I usually use spray paint and computer inkjet printing. Sometimes I use stickers, and sometimes I go crazy! I try to use the coolest expression, please let me know if you have any advice on how to do it better!<\/p>\n

You seem to collaborate more with street fashion brands than luxury brands. Is there a particular reason for this?<\/strong><\/p>\n

The reason is simple: I can’t afford expensive clothes. I would love to work with luxury brands if I could. Art has always been a business, and it’s rather strange to think of art and commerce separately. We live in a modern world where we have to pay taxes just to breathe, and if I don’t have money, I can’t paint. However, even so, I want people to be happy when they see my works.<\/p>\n

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Backside works., \ubc31\uc0ac\uc774\ub4dc \uc6cd\uc2a4., Panel Anderson, 2022, Mixed media, 92.5 \u00d7 183.5 cm<\/figcaption><\/figure>\n

Compared to your fame, your biography is quite unknown.<\/strong><\/p>\n

My works already are a reflection of myself seen through my own desires, so there is no need to put myself out there. Also, if I wanted to be in the public eye, I’d have to go on a diet.<\/p>\n

Some of your works have a donut motif, why are young artists drawing so many donuts these days?<\/strong><\/p>\n

Do you know how to make a donut? You knead flour, fry it in oil, and sprinkle it with sugar. It’s crazy. Doesn’t that remind you of something? That’s art. What do you think? Let’s try have a donut all together today!<\/p>\n

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Backside works., \ubc31\uc0ac\uc774\ub4dc \uc6cd\uc2a4., VALIANT GIRL JAMP1, 2022, Mixed media, 91 \u00d7 66 \u00d7 10 cm<\/figcaption><\/figure>\n

Interview by Heaseung Kang, published on Kiaf 2022 Catalogue<\/span><\/p>\n","protected":false},"featured_media":0,"template":"","categories":[50,52],"class_list":["post-29318","insights","type-insights","status-publish","hentry","category-insight","category-articles"],"translation":{"provider":"WPGlobus","version":"3.0.0","language":"en","enabled_languages":["ko","en"],"languages":{"ko":{"title":true,"content":true,"excerpt":false},"en":{"title":true,"content":true,"excerpt":false}}},"acf":[],"_links":{"self":[{"href":"https:\/\/kiaf.org\/en\/wp-json\/wp\/v2\/insights\/29318","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/kiaf.org\/en\/wp-json\/wp\/v2\/insights"}],"about":[{"href":"https:\/\/kiaf.org\/en\/wp-json\/wp\/v2\/types\/insights"}],"wp:attachment":[{"href":"https:\/\/kiaf.org\/en\/wp-json\/wp\/v2\/media?parent=29318"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kiaf.org\/en\/wp-json\/wp\/v2\/categories?post=29318"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}