Koichiro Takagi...animals, created using a variety of techniques including embroidery, painting and...

Koichiro Takagi

1974年東京生まれの高木耕一郎は、大学卒業後アメリカに渡り、サンフランシスコのアート・アカデミーにてシルクスクリーンを学ぶ。その後ニューヨークにて画家としてのキャリアをスタートし、2005年に帰国した後現在は東京を拠点に活動している。動物や擬人化した動物をモチーフとし、親近感と違和感、匿名性と神秘性などさまざまな要素が混在する奇妙なユートピア的世界観を生み出す。パンクミュージックやストリートアートに影響を受けた高木は、ペインティング、刺繍、コラージュ、ステンシルなど様々な素材を用いて表現の幅を広げている。近年の主な個展に「This is the secret everyone knows」Gallery Target(東京、2018年 )、「GLOOM」Gallery Target(東京、2015年）/DMO Arts(大阪、2015年）、「EYE

OF TOMORROW」Clear Edition（東京、2014年）などがあるほか、アメリカ、フランス、シンガポールなど各地のグループ展にも参加している。

Born in Tokyo in 1974, Koichiro Takagi moved to the US after graduating from

university in Japan and learned screen-printing at San Francisco’s Academy of Art College

(now the Academy of Art University). He relocated to New York to start his career as a

painter and returned to Tokyo in 2005, where he now lives and works. Using animals and

anthropomorphic creatures as motifs, Takagi creates an eerie/peculiar Utopian world,

playing with various elements such as affinity and discomfort, anonymity and mysticism.

Influenced by punk music and street art, he broadens the range of his creative output by

using a wide range of techniques and materials such as painting, embroidery, collage, and

stencil. Takagi’s works have recently been presented in various solo shows, including ‘This

is the secret everyone knows’, Gallery Target (Tokyo, 2018); ‘Gloom’, Gallery Target (Tokyo,

2015) and DMO Arts (Osaka, 2015); and ‘EYE OF TOMORROW’, Clear Edition (Tokyo,

2014); along with a number of group shows worldwide, notably in the US, France, and

Singapore.

Koichiro Takagi高木　耕一郎

刺繍、ペインティング、ステンシルなど、多様な手法を使い、おもに擬人化した動物をモチーフとする作品が注目される高木耕一郎。サンフランシスコのアートスクールを卒業したのち、ニューヨークに拠点を移し、アシスタントをしながら自らの制作を続けた高木。兄から影響を受けたハードコア・パンクが、彼をサンフランシスコに向かわせ、ファインアートに対するカウンターカルチャーであったローブローアート＊ 1に引き寄せます。アンダーグラウンド・コミックやパンクロック、ホットロッド、ストリートカルチャー、

タトゥーなど、アメリカのサブカルチャーを取り入れ、陽気でユーモアがありながら、皮肉や風刺、悪ふざけが混在するローブローアートは高木の心をとらえ、同時に作家は「これもアートでいいのだ」と表現の原点を見出します。かわいくて不気味、陽気で陰鬱、聖なるものが俗なるものでもあるといった、相反する

性質が混在する高木作品の特徴は、これらの影響がベースになっています。その後高木は、ペインティングにステンシルの技法を加え、また作風もシンプルにすることで、より表現力を強めていくことになります。

＊ 1 Lowbrow Art：ローブローとは低俗で教養のない人という意味。1970年代後半にロサンゼルスで

起こったアートムーブメントで大衆的なストリートカルチャーがベースになっている。

Koichiro Takagi has received attention for works that mainly feature anthropomorphized

animals, created using a variety of techniques including embroidery, painting and stencil.

After graduating from art school in San Francisco, Takagi moved to New York and worked

as an artist’s assistant, while continuing his own artistic practice. Introduced to hardcore

punk by his older brother, he was drawn toward San Francisco and to lowbrow art, a

countercultural movement that set itself against fine art.

Takagi was captivated by lowbrow art which absorbed elements of American subculture

including underground comix, punk rock, hot rods, street culture, tattoos, mixing touches

of lighthearted comedy with irony, satire and subversive humor. At the same time, the

artist realized that this too, could be art, finding his point of artistic origin.

These influences form the basis of the lovable uncanniness, cheerful gloom, saintly

worldliness, the coexistence of opposing qualities characteristic in Takagi’s works. From

then on, Takagi would add stencil to his paintings, and strengthen the expressive power of

his works by simplifying his style.

創作の原点 / Point of Artistic Origin

Monkey M No.1

2002

76x101cm

acrylic on canvas

black dice

106x137cm

acrylic on canvas

2005年より日本に制作の拠点を移した高木は、さらに作品を発展させていきます。あるとき、友人からのプレゼントで刺繍の作品をもらったことがきっかけとなって、自身の作品にも取り入れます。

手探りのなかで始めた刺繍だったが、作品を見せると好い反応。これはやるしかないんだろうなと思ったんです。

刺繍について高木は、「僕はマテリアルにはこだわらない。“それしかやらない ”のは問題ではなく、どういう絵が描きたいかが問題なのだ」といいます。作品に描かれる擬人化された動物のモチーフは、時にかわいらしく、時に牙をこちらに

向け、鑑賞者を睨みつけて威嚇します。観る者は、「親和性」と「攻撃性」が混在する奇妙な居心地の悪さを感じます。また本来、「聖なるもの」を描くための典型的な構図に動物が配され、聖者を演じるさまは、いかにも「通俗的」であり、人の為せる「業」を浮き彫りにします。高木の作品には、このように相反するものが絶妙なバランスで混在するのです。

After moving to Japan in 2005, Takagi continued to develop his artistic practice.

He happened to receive an embroidered gift from a friend, thereafter incorporating

embroidery into his own work.

Takagi began to make embroidery in his own way. But when he showed the work, he

received a great response.

So Takagi felt he had no choice but to do this.

Speaking about embroidery, Takagi has said that, “I’m not particular about my materials.

‘Doing only this’ is not the issue but rather, what kind of image I want to create.”The motifs of anthropomorphized animals depicted in his works are at times adorable,

and at others bare their teeth, glaring at and intimidating the viewer. The viewer feels

strangely unsettled, a blend of ‘discomfort’ and ‘aggressiveness’. Furthermore, these

animals are placed within classical compositional structures used to depict ‘holy beings’ – their parodic saintly poses underscoring man’s attachment to worldly pleasures and all-

too-human desires. There is thus a delicate balance of opposing elements that coexist in

Takagi’s work.

刺繍で描かれる動物たち / Embroidered Animals

I thought it was ugly, instead it was beautiful

2019

94.0x119.7x4.0cm

Embroidery, acrylic and lacquer on linen

その背景には高木耕一郎がカトリックの家庭に生まれ、カトリック系の学校で育ったことも多いに影響しています。彼は幼少のころから教会の聖なる空間、聖なる絵画、教会の中に差し込む光、灯された蝋燭に揺れ動く影など、日常とは違う空間に触れてきました。そこで、後に作品にも取り入れることになる刺繍が、祭壇や聖職者のマントを彩り、神

を荘厳するための技法として使用されているのを目の当たりにします。薄暗い教会のなかで、独特の光沢を放ち、凹凸のある表面が陰影を作り出す刺繍。洋の東西を問わず、古代から宗教的な供物に、あるいは祈りの儀式や場を荘厳するための装飾として施されてきたこの技法は、一方で、工芸作品に、あるいは手芸として身近に使用され、親しみやすい技法でもありました。刺繍にも聖俗の両面があるのです。一針一針の手の跡が感じられるこの素材は、ペインティングやステンシルと混在させることで、フラットな 2次元の作品とは異なる独特の感触を強調します。

In the background of all of this, there is also the strong influence of Takagi’s upbringing,

his having been born into a Catholic family and attended a Catholic school. From a young

age, he had been exposed to spaces altogether different from everyday life – the sacred

space of the church, religious paintings, the beams of light that pour into the center of the

church, shadows that flicker behind lighted candles.

There, he saw with his own eyes the embroidery that he would later incorporate into

his own work, used as a form of reverence, adorning the altar and the priest’s vestments.

In the dimly lit church, the embroidery would shimmer in a particular, inimitable way, its

irregular surface a play of light and shadow. Whether in the East or in the West, since

ancient times embroidery has been used in religious offerings and in prayer rituals

as a means of revering the deity/deities through rich ornamentation. The technique,

however, is also one familiar in everyday life, used in artisanal or homemade craftwork. By

combining this material – in which every single stitch can be perceived – with painting and

stencil, a unique effect is achieved that is different from the flatness of two-dimensional

works.

This is my God, not your devil

2019

44.0x34.8x4.0cm

Embroidery, acrylic and oil stain on linen

Giving expression to these conflicting feelings and contradictions, Takagi tries to head

toward the utopia in which he believes. And through works that oscillate between many

different values, he asks the viewer where the truth lies.

Takagi’s unique sensibilities have not only led him to present works at special

exhibitions and group exhibitions, but also to designing for and collaborating with clothing

brands including ZUCCa, BEAMS, PORTER [fig. ] and UNIQLO [fig. ], Paul Smith.

In Takagi’s works, opposing sensations are made to coexist. The viewer, confused

at first by an ambiguous equilibrium, gradually comes to enjoy its delicate balance. We

invite you to view these works and discover this intriguing mix of materials for yourselves,

savoring the commingling of myriad sensations.

PORTERとコラボレーションしたバッグ UNIQLOとコラボレーションした Tシャツ

高木はこうした相反する感情、矛盾を描きながら、彼の信じる理想郷を目指します。そしてさまざまな価値観に揺らぐ作品を通して、鑑賞者に何が真実なのかを問いかけます。高木の醸し出す独特の感性は、国内外の企画展やグループ展、個展開催に留まらず、

ZUCCa、BEAMS、PORTER [図 ]や UNIQLO [図 ]、Paul Smithなどのアパレルブランドへのデザイン提供やコラボレーションにも派生しています。対局にある感覚を同居させている高木の作品。観るものはその曖昧な着地点に最初戸惑

いながらも、次第にこの絶妙なバランスを楽しむようになります。ぜひ作品を目の前にして、混在するさまざまな素材の面白さ、さまざまな味わいを感じていただけますよう切に願います。

1 2

1 2

1 2

TAIPEI DANGDAI2019Taipei

ART CENTRAL HONG KONG2019Hong Kong

INST

ALLA

TIO

N V

IEW

The group exhibition 'REFRACT REFLECT'2016MASAHIRO MAKI GALLERY, Tokyo

INSTALLATIO

N VIEW

Koichiro TakagiI thought it was ugly, instead it was beautiful

2019Embroidery, acrylic and lacquer on linen94.0 x 119.7 x 4.0 cmSigned and dated with embroidery on the reverse

www.MakiGallery.com | [email protected] Jingumae Shibuya-ku Tokyo 150-0001 | T. +81-(0)3-6434-7705

Koichiro TakagiI thought it was ugly, instead it was beautiful (Details)


Koichiro TakagiBell of Urgency

2014Acrylic on wood with embroidery42.0 x 42.0 x 33.0 cmSigned and dated by the artist


Koichiro TakagiI’m Born Again From The Ashes

2019Embroidery, acrylic and lacquer on linen115.0 x 197.0 x 4.0 cm


Koichiro TakagiBack Where I Belong

2017Embroidery on board84.5 x 22.0 cmSigned, titled and datedwith embroidery on the reverse

Koichiro TakagiDark is not Evil

2018Embroidery, acrylic and coffee stain on board79.5 x 19.5 cmSigned and dated with embroidery on the reverse


Koichiro TakagiI was Filled with noise

2019Embroidery, acrylic and lacquer on linen68.2 x 93.8 x 4.0 cmSigned and dated with embroidery on the reverse


Koichiro TakagiI’ll be the darkest night

2019Embroidery, acrylic and black light on linen55.0 x 35.0 x 13.0 cmSigned and dated with embroidery on the reverse


Koichiro TakagiEmbrace The Madness

2016Embroidery, acrylic, lacquer and coffee stain on linen120.5 x 84.3 x 4.5 cmSigned and dated with embroidery on the reverse


Koichiro TakagiThis is my God, not your devil

2019Embroidery, acrylic and oil stain on linen44.0 x 34.8 x 4.0 cmSigned and dated with embroidery on the reverse


www.MakiGallery.com || [email protected] Jingumae Shibuya-ku Tokyo 150-0001 || T. +81-(0)3-6434-7705

Koichiro Takagi

Biography

1974 Born in Tokyo1997 Studies silk-screen printing at the Academy of Art College in San Francisco2001 Moves to New York to start his career as a painter2005 Returns to Tokyo Lives and works in Tokyo

Selected Solo Exhibitions

2020 TAIPEI DANGDAI, Taipei2019 NOT JUST GIRLS FUN, BOOKMARC, Tokyo2018 This is the secret everyone knows, Gallery Target, Tokyo 2017 Back Where I Belong, No.12 Gallery, Tokyo2016 KEMONO, Clear Edition Gallery, Tokyo2015 GLOOM, Gallery Target, Tokyo, Japan & DMO Arts, Osaka2014 EYE OF TOMORROW, Clear Edition, Tokyo 2013 Take a Look in the Mirror, Clear Edition, Tokyo2012 Romantic Ideal, Gallery Target, Tokyo2011 Pink Pepper, Galerie Agathe Hélion & CLEAR, Paris2010 Boys Stitches Club, Tokyo Hipsters Club, Tokyo2009 Paint it Black, No.12 Gallery, Tokyo2007 Holy Property, Paul Smith Space, Tokyo echo, BEAMS café, Kobe a STATE OF GOLD, Mirai Gallery, Tokyo2006 Old Fellow, Ojiyan Café, Tokyo Welcome Back!, No.12 Gallery, Tokyo2005 Mercury Bargain, Pink Pony, Los Angeles, CA 2004 kid in the gloomy forest, Phoebe’s, Brooklyn, NY2001 insecurity in security, Bush gallery, San Francisco, CA

Selected Group Exhibitions

2019 Exotic Gleaming Noise, BRICK & MORTAR, Tokyo Yes Good Market, INN THE PARK, Shizuoka Man On The Fence by Paul Stuart, Mustard Hotel Shibuya, Tokyo2018 Pop & Street, WAG Gallery, Tokyo The Abyss, HENRY HAUZ, Tokyo2017 Art Osaka, Hotel Granvia Osaka, Osaka MJ X VANS, BOOKMARC, Tokyo2016 REFRACT/REFLECT, MASAHIRO MAKI GALLERY, Tokyo2015 PASSE THE MENTERIES, MASAHIRO MAKI GALLERY, Tokyo

www.MakiGallery.com || [email protected] Jingumae Shibuya-ku Tokyo 150-0001 || T. +81-(0)3-6434-7705

2013 POSSE ACTION I, Gallery Target, Tokyo2013 Tokyo Street, Artspace@Helutrans, Singapore 2012 Ribbon Bar, No.12 Gallery, Tokyo NEW END MARKET, Common, Tokyo2011 ART CONTEMPORAIN JAPONAIS, Galerie Agathe Hélion & CLEAR, Paris CUTLOG contemporary art fair, Bourse du Commerce, Paris2010 CUTLOG contemporary art fair, Bourse du Commerce, Paris Piggy Bank Collection, ISETAN Shinjuku, Tokyo Concrete Hermit At The Conran Shop, The Conran Shop, Tokyo 2009 BETTER DAYS, No.12 Gallery, Tokyo NYConnection, Gallery Target, Tokyo2007 The Wurstminster Dog Show, Wurst Gallery/Ace Hotel, Portland, OR2005 Minna no ato (art for everybody), presented by ELLE, L’ECLAIREUR, Tokyo ELLE LOVES ART, presented by ELLE, Roppongi Hills, Tokyo Art Jam2005, Kyoto Museum, Kyoto Vintage Vandals, Wurst Gallery, www.thewurstgallery.com 2004 Look Closer, About Glamour, Brooklyn, NY Summer Printing Pool, Rocket Gallery, Tokyo Two Steps Back, presented by 55DSL/8.5x11, traveling art show; KINZON, Berlin (Jul. 2004); Vinyl Factory, London (Sept. 2004); Iguapop Gallery, Barcelona (Sept. 2004); La Palma Club, Rome (Sept. 2004); Espace 07, Paris (Sept. 2004); Hotel Claska, Tokyo (Oct. 2004); Superstudio Più, Milan (Dec. 2004); Spin Gallery, Toronto (Mar. 2005) Texas Soap, two-person show, About Glamour, Brooklyn, NY SLON de EXPACE, Transplant Gallery, New York, NY Group Show, Max Fish, New York, NY2003 Up Our Sleeve, traveling art show; 55 DSL Gallery, San Diego (Sept. 2003); Designer & Agents, Los Angeles (Nov. 2003); Rocket Gallery, Tokyo (Nov. 2003); Conquest, Kyoto (Nov. 2003); Vooruit, Ghent (Feb. 2004); Tommy’z, Amsterdam (Feb. 2004); Inshallah Gallery, Los Angeles, CA (Jun. 2004); Vooruit, Ghent (Jul. 2004); Aurora Gallery, New York, NY (Oct. 2004)

Collaborations

MillvalleyUncle Beach ClubJUNJournal Standard FurnitureRon Herman x SURTCatcopyRUTSUBOJUNRedUniqloPorterPaul Smith

Koichiro Takagi...animals, created using a variety of techniques including embroidery, painting and...

Documents

Transcript of Koichiro Takagi...animals, created using a variety of techniques including embroidery, painting and...