Tokujin Yoshioka
Tokujin Yoshioka, from Japan, is one of the most acclaimed designers in the world and is the creator of numerous works which delve into the connections between nature and senses, reflecting the Japanese idea of beauty. Tokujin is famous for his experimental creativity, spanning from architecture and design to contemporary art. His productions transcend the materials he employs – his main protagonists being light and energy; on one hand going beyond the actual idea of form while on the other hand, creating it through natural processes of crystalisation.
The winner of countless international awards and selected by the US magazine, Newsweek, as one of the most respected Japanese people in the world, his works are often chosen to become parts of permanent collections in museums such as the Museum of Modern Art in New York, the Musée National d’Art Moderne in Paris and the Victoria and Albert Museum in London. His working collaborations with large companies such as Cartier, Swarovski, Louis Vuitton, Hermès and Kartell are also famous. Among his many masterpieces, we can cite his Water Block glass benches that have been exhibited at the Musée d’Orsay in Paris since 2011, his Honey-pop (2001) paper chair, the 500 crystal prisms of the Rainbow Church (2010-2013), the Natural Crystal Chair-VENUS (2008) and the KOU-AN-Glass Tea House (2011), presented at the 54th Venice Biennale.
We were inspired by your works when considering how we would set up an interview with you. We took the liberty to associate those features in your works which sprang to our attention to an array of suggestions hailing from three great men closely connected to the world of art, science, and technology. We have thus imagined a contemporary dialogue with Leonardo da Vinci, Galileo and Henri Matisse. These great men are different from one another yet similar both in terms of the degree of perfection with which they have dealt with their own particular disciplines, and the spirit of experimentation with which they have been able to enrich and renew these very disciplines.
We would like it if this framework for an interview – organised by us into three acts in quite an arbitrary fashion – might also be of inspiration for you and that you will freely guide us through the story of your artistic production and what you believe that this production signifies for you.
ACT I
Leonardo da Vinci: «Nature is full of infinite reasons that do not come out of experience» (Pensieri)
Leonardo da Vinci’s (1452-1519) artistic production was limitless, yet it possessed one constant and inescapable common theme: the concept of Nature as one whole containing a variety of rational relationships that are calculable and measurable and that may be understood by mankind through mankind’s experience and powers of reason.
Nature gives mankind the opportunity to accrue experience and Nature is the font from which the subject of Art in all its very many facets originates. His artistic production is so very closely tied to Nature, to its elements and components and to its forms and guises.
What significance does Nature have for you?
Tokujin Yoshioka: From nature I feel the timeless beauty and energy that transcends imagination. Everything about nature is irregular, but on the other hand I feel something orderly about it.
Is it possible, in your opinion, that a form of art might exist that is excluded from any sort of inspiration from Nature?
TY: I think there are many. From the writings of Leonardo, we might gather that he felt uneasy in the times in which he lived. He was aware of the fact that he was a forerunner of his times, and he was not always understood by his contemporaries.
Do you feel at ease in your times, and do you feel that you are understood by the public of today?
TY: I was not able to communicate my idea in my young times. That was because I always wanted to express the invisible elements humans sense such as light, motion and scent. There were no personal computers at that time, and I was only able to show the light, for example, with models and sketches. However, nowadays I’m able to show my ideas using various technologies, and this enables me to show my works to people around the globe. Development of technology is nice in this aspect.
ACT II
Galileo: «It is not enough to look, one needs to look with eyes that desire to see and that believe in what they see» (Sidereus nuncius, 1610)
Galileo (1564-1642), the architect of the scientific revolution of the Seventeenth century completely overturned the way people looked at the world and at the universe. In order to study them and to understand them it was necessary to look at them with new eyes – eyes imbued with modernity that were free from preconceptions and superstitions. Those new eyes of Galileo were the fruit of a dual process. On one hand, the scientist demonstrated in an experimental fashion just how much he had sensed and elaborated theoretically by turning to wholly scientific methods. On the other hand, he became the creator of those instruments that were necessary for the realisation of his research. Therefore, Galileo is a perfect example of a fruitful union between intuition and technology and between a gifted idea and skilful realisation whilst all along employing a whole host of technical devices.
The extraordinary harmony in Galileo’s works may be overwhelmingly witnessed within all of his artistic creations. Would you accompany us along the various steps of your creative process, describing for us the evolution that intuition undergoes in order to be transformed into Art? We are also interested in deepening our understanding of your technical skills as well as the clear separation that you employ in the choice of materials that you use in your works.
TY: I first create an artwork inside my head, and I try to understand if it lets us have heart-moving experiences. This idea of artwork could be something concrete or something vague. Then I think of a way to realize this idea while also imagining if there is a joy or fruitful challenge in realizing it. Joy and challenge are something very important to me. This is because the creation process itself becomes the charm of the completed artwork. As I study and conduct experiments for realizing my idea, I often encounter with some unexpected events and discover the beauty that is beyond my imagination. I bring those findings to my artwork.
ACT III
Art, even when it is the fruit of a rational and scientific procedure – which forms the framework of its very creation – is, nevertheless, the abode of the irrational. Art is synonymous with an emotional and sensorial involvement, and it is the abode of all that is beautiful, so it might therefore be difficult to decipher it in a verbal language. It is therefore a language apart which enables the single individual to reconnect with the universe and with the infinite within a spiritual dimension.
Henri Matisse claimed that «The deepest amount of love is required, love that may inspire and support this continuous effort towards the truth, this absolute generosity and this profound despoliation in which the creation of each and every work of art is involved. Yet, isn’t Love at the very origin of all creation?»
What is the final significance for you that Art possesses?
TY: Henri Matisse is my favorite artist. I have his lithograph displayed in my house. One of the inspirations for my artwork Rainbow Church (2010, 2013) came from my visit to his masterpiece, Chapelle du Rosaire de Vence. It is not only the visible beauty that matters for a creation. What’s important is which kind of emotions it bears and if it has a spark and energy of birth. I think that is what Matisse called love in his quote.
I believe that a creation could become something more valuable than just an object of expression, or become a power to change the world, only when there are emotions and energies in it. The Tokyo 2020 Olympic and Paralympic torch I designed is created using recycled aluminum from the prefabricated housing units in the disaster-affected areas. Its design for the five flames to come together as one at the center of the torch symbolizes a wish for world peace. This torch is a creation that is more than a material object.
Is it possible that there is a connection between your family and personal history and your artistic perceptions, creators of sensitivities and poetry of such high levels?
TY: It might be possible that my childhood experience or relationship with others are somehow influencing my artistic perceptions. I listen to different people’s thoughts when an artwork is completed.
Would you tell us if there is in your works (that reach up and out towards such a high lyrical plain) a spiritual component?
TY: I recognize that my artworks share the same atmosphere when completed even if I never intended to do so in their creation process. Although, I am not aware of what is making that mood, and how it is possible.
And lastly, what is the message that your Art represents?
TY: I do not set any specific message for my artworks. Instead, each impressions audiences receive from the work becomes an important message for me. Perhaps the message of an artwork could be something borderless like natural light, and it may not be verbally described.
What is the effect that you would like it to arouse in your spectators and your consumers?
TY: What I want to create is an art piece that has a power and mood-changing aura, and allows undiscovered experiences.
Unveiling the Superba city, through 16th century palaces, hanging gardens, frescoes and historical boutiques.
Wilhelmina Skogh has been the first female manager of the Grand Hotel in Stockholm in 1901. Discover her story!
Dear reader, let me suggest you an experiment. Enter into a “conversation” with words, pictures and the power of music. This is Musword!
It’s called the Garden of Marvels, most probably because it never ceases to surprise its visitors.
They are called Cultivators and they are mazes to let us reflect on the power and the coexistence between Mankind and Nature.
Reproduction in whole or part without written permission is strictly prohibited.
Orlando is registered in Genoa
on January 10th, 2020, n° 02/2020
Orlando Magazine published twice a year, by Tessiore & Co Srl, Via C. Roccatagliata Ceccardi 4/5, 16121 Genova, Italy
Copyright 2024 Tessiore & Co Srl, all right reserved
ANTONELLA DELLEPIANE PESCETTO
Founder & Creative Director
FLAVIA SCARANO
Editor in Chief
DANIELLE ALLEN
Business Advisor
info@orlandotales.com