“I don’t trust human’s emotions. It’s not something that I deal with in my work.”
CA: I used to think of your Engineering pieces as very frightening because all the machines’ action goes unexplained, but now I find myself more in awe of them. I see the machines as being like divine creatures. Is there an emotional response you’d like your comics to produce in the people who read them?
Yokoyama: Thank you. I am happy to hear you respond like that. I would like each reader to construe my works freely.
CA: I’m especially interested in your interactions with American comics. A lot of people have commented on your art’s similarity to Jack Kirby; has he influenced you at all?
Yokoyama: Unfortunately, I am interested in neither American comics nor other countries’ comics.
“Imagine that you turned on a television. You happened to see a drama in the middle, watch it for a while and turned it off since you needed to leave. Maybe it was 10 min of the entire movie but it may be quite interesting to you. It often happens to me. But when you see the left part of the movie, you may find it boring and not interesting as you expected.”
“I’ll give you another example. Someone is constantly interrupting our conversation. She continuously comes and picks up something on our table and goes back. That situation is really interesting to me. It inspires me to draw before and after of that moment. I want to draw these scenes. Manga is the method to realize that.”
CA: Are there any cartoonists making work right now that you feel inspired or influenced by?
Yokoyama: No, I don’t have such cartoonists.
CA: It seems to me that the dialogue about humanism and its absence in your comics ignores the spiritual. Do you think there’s a spiritual aspect to your work?
Yokoyama: My dialogue doesn’t have humanism, but it has the spiritual. However, on the other hand, you can see they are without the spiritual. It is up to each reader’s interpretation.
“Drawing manga book is like a life work for me. However, I can’t enjoy the process at all. It is so distressing.”
-What is cuteness for you?
That’s a difficult thing to describe. It’s similar to describing the taste. How delicious it is.
I love babies, any babies from human’s to animal’s. I asked my mother to have more babies when I was little. I love babies that much!
-Why is that?
It’s really adorable. However, I don’t want my own. (laughs)
-Until what age, do you regard as a baby?
Well, it is hard to say. To be honest, I think that even after getting old, people might not be growing up from a baby.
-People keep some child part inside.
I taught water color painting to elderly people two years ago. They were like a child concentrating on drawing. I imagined their childhood from each face.
It’s not connected to my work but makes me think of what is to be a human. I see adult’s childish behavior just like becoming a child again.
“Emotions prevent you from finding or sensing interesting matters. Ukiyo-e (Japanese traditional print in the 17-19th century) is drawn from a similar perspective. It is eliminating human’s emotion. Some are drawn from high above the city. Others are drawn from the ground, placing a hip of a cow in the center. It is fun to see things in that way. It is not a human’s perspective.”
“I thought Yuichi Yokoyama is like a boy who likes scribbling and fishing with a quite pure heart. This exhibition is his manifestation about his past and current and future.”
The plot of Garden is pure simplicity: A crowd of would-be sightseers (all wearing costumes and headgear that make them look like a lost Kinnikuman toyline) sneak into a sprawling “garden” filled with inexplicable, incredible sights and structures, from a river of rubber balls and a forest filled with disassembled cars to mountains made of glass and a massive hallway filled with floating bubbles. The endlessly chatty characters slowly walk, climb, swing, float, and otherwise make their way through the environments and obstacles, constantly narrating as they go. (“Now what could this be?” “It’s a field of boulders.” “All the boulders have ladders on them.” “Let’s climb it.”) By explaining exactly what’s happening at all times, the little explorers make following Yokoyama’s often kaleidoscopic art a breeze, freeing you to simply marvel at the sheer scale and scope of his imagination (and chuckle at the crazy stuff the characters encounter). The overall effect is like being strapped in for a ride through some Bizarro Disney World where every single attraction is as colossal and otherworldly as the big Spaceship Earth golfball, as fast as Space Mountain, and as dizzying as the Mad Tea Party.
-Sean T. Collins
Yuichi Yokoyama: All of my works are prediction.
“For example, seeing me wearing a pendant, human beings may think “oh well, a middle-age man is wearing it.” But a cat won’t think in that way although we are viewing the same pendant. Cats won’t think “oh, he is cool or she is cute” like humans do. They might only care whether it is dangerous or not. I want to draw from that point of view. Seeing the world from a cat’s or a fly’s eye. Or even from a wood shelf or a chair down below.”
At times, Garden reminded me of going to a theme park and playing around on rides and exhibits. For example, when the characters ride up the mountain on a moving block of stone, or climb up trees and slide down poles to get from place to place, it made me think of Disney World, almost. And Disney World itself is a Garden-like environment, where people created a vast artificial playground in what was otherwise wilderness. Were amusement parks or theme parks on your mind when you created Garden?
No, I never had such idea or images when I created Garden.
CA: Did you read a lot of comics before deciding to draw them yourself?
Yokoyama: No, I had little occasion to read other comics.
“I like faces a lot. I love it. I can think of as many as I can. I purely like faces. I recently found that other people are not as interested in faces as I am. Anything can be seen like a face for me. Even trashes or a garbage can could be.”
- Do you put a character on each person in your mind?
No, I don’t. But, recognizing that I am actually redoing faces these days, I wasn’t like that before. I can’t deny that I am putting characteristics in some ways. This is not good but I can’t avoid it.
“For example, I first drew a rock with an elevator (above). Then, I decided to draw what happened before and after this scene and ended up with 24 page-manga. I finished it with 24 pages but can still continue. Actually, I intend to do so in the future.”
“No. I personally don’t read manga. This was the only way to express my vision. I didn’t have an interest in drawing beautifully or developing its texture. It could be fun. But I couldn’t have a deep interest in it. So I need to think what I should do. That is how I developed my style. But this is what I found afterwards. I don’t remember how exactly I started.”
“Ultimately, I want to go beyond the meanings. Usually, people enjoy meaningful stories. So if there is no meaning, people get bored all of a sudden. But I think there is more than that. I believe that things can’t be described with meanings or words. Ultimately, I want to show that. It is difficult.”
Actually, the sheer size of all the places explored by the characters left me wondering who or what could possibly have constructed them all. Do you ever give any thought to the architects and builders who create these spaces within the story, or do they simply exist?
They simply exist. I don’t have any background on who created them.
This exhibition also showcases your oil painting works including works made when you were at college. It will be treasure time for your fans. So, would you like to do oil painting in the future?
I would like to do it, but as a hobby. Because painting is difficult for me to express my idea, and I’m not interested in working on the same expression what forerunners have done before. I don’t get excited. But in manga, I felt like building a house in an uninhabited island. I could worked on things I wanted to convey, with being assured of doing something nobody has done before. But I like to see works of other people, especially a Meiji-born painter Kunitaro Suda’s work. I often see his works when I get sleep. I don’t know why I like his works, but his work makes me quite emotional.
SOME WORKS BY KUNITARO SUDA-
There's no doubt that Yokoyama's manga depict the flow of time. All expression has been removed from the people and animals that appear in his work, while the characters' gestures, actions, and the outcome of every event are presented in a straightforward manner. The issue is what the goals of the people who are walking, fighting, or making things are - there are no endings in Yokoyama's manga. But this is only appropriate, because there are no endings in the way we perceive time, either.
- Keiko Kamijo
CA: Both Garden and Color Engineering end with sections that function like afterwords, following up on ideas raised by the narrative after it’s reached its logical conclusion. Do you prefer this style of closing a book to a more typical “ending”?
Yokoyama: Yes, I like this way, but I can finish my comics without any [afterword]. This way is just for my fun.
CA: Do you think using color contributes to a sense of the human?
Yokoyama: No, I don’t think using color makes any contribution to a sense of humanity.
CA: From what I understand, Japanese culture incorporates high levels of both conformism and individuality. Do you think your work emphasizes one or the other?
Yokoyama: I think my work emphasizes both aspects.
“People try to use words to describe. I think it is wrong. I think there are many things which can’t be described in words.”
“Please enjoy in your own way. That’s the best.”
p.s. RIP Katherine Dunn. I had a meal with her once. She was a really terrific person too. ** So, today the wondrous musical (and other) talent plus shining d.l. Jamie McMorrow offers you a generous, rich, graceful-looking view of the work and thoughts of artist Yuichi Yokoyama, and that makes you a mass of beneficiaries. Please give the post everything you're capable of today, and give a few words to Jamie to mark what happened because otherwise he won't know, and that would be sad. Thanks and congratulations, everyone, and thank you so much, Jamie! ** Damien Ark, Hi, Damien. I didn't forget, I just wasn't feeling Nitsch the day I put that together for some unknown reason. Yeah, that tent is a keeper. Well, hm, about the writing workshop thing. I can pretty much predict that, if you do that, and it's not a bad idea, you will get a wide array of feedback. There'll be those, probably few in number, who either dig your subject and matter and approach or have no problem with it and will be able to critique your writing helpfully. There will be those, possibly more in number, who just will not let themselves deal with what you're writing about and will either say nothing or say something hostile. And then a bunch of people who are open to what you're doing and will try to be helpful while making sure everyone knows that they aren't into what you're writing about. So, if you steel yourself for the people who will be freaked or irritated, and if you're able to write them off and not take their issues personally, you could find it a very useful experience. I wouldn't bother second guessing what publishers want. There are daring publishers and publishers who aren't and everything in between. And what's trendy shifts constantly, and what's trendy isn't necessarily want publishers want. So, I wouldn't start worrying about that now. You'll just end up fantasizing in a negative way, and that won't do you any good. ** David Ehrenstein, Hi, David. Melt in the mouth, one would hope. ** Jamie McMorrow, And there you are! The man and the host with the most for the next 24 hours! Thank you, man. It did thunder here yesterday, actually, and in a most welcome manner, so thank you. Are you down with thunder and lightning too? Dare I wish it on you? Do you think the fellow citizens of your fair city will mind if I do? Anyway, ... *wish*. Oh, gosh, thanks about the Flesh post. I'm chuffed. Can one say very chuffed, because I am? Did you get the wanted time for your music. Yeah, that's interesting, right? What merely having an audience can do to what you've made or are making before they've even said a word. So weird how that works. I guess that's the theory behind psychiatry, right? Dragging sucks, yeah. There are all kinds of negative qualities that can function as bonuses, but dragging is a drag. Any progress on de-stumping yourself about that dilemma? Oh, Aarhus. I stayed there a few days once. During a trip that my friend Zac and I made through Scandinavia where we spent almost three weeks going to as many Scandinavian amusement parks as we could. For fun and for a book project-in-progress. I think we ended up hitting 17. There were 2 near or in Aarhus, so we crashed there. Neither one amazing, though. If you end up with nothing else to do the Tivoli Gardens there is modest but has a handful of fun attractions. But Aarhus was nice, friendly, kind of cool. Getting to see Cavern of Anti-Matter and Neil Hagerty & The Howling Hex is cool. My Thursday was just some work and then starting to get ready for the trip on Monday. Okay. There's one last work thing to do hopefully today. Enjoy today heavily both near the blog that holds your masterstroke and out there too! Big love, me. ** Dóra Grőber, Hi! Oh, wow, thanks, Dora! I'm so happy you liked it! Yesterday I was putting together the rerun posts for next week while I'm away from the blog, and, thinking of you, I slipped in this old Richey Edwards post that I posted however many years ago. I think freedom is in my foreseeable future, whew. The 80s or 90s. Yeah, they had a lot going on that seems kind of magical now. Remembering life before the internet and cell phones is so interesting. It seems so primitive, but it wasn't, although it was annoying to only know if someone was trying to call you when you were home. Bookstore or art supply store jobs sound pretty okay, although possibly more romantic than they actually are, if you have to have one. Me, I'm good. I'm starting to get ready for the big, brief trip. I always get stressed before I travel long distances, but I'm keeping that in check, a least as of right now. How was Friday for you? ** Gary gray, Hi, there, Gary! Always a pleasure! Reading Badiou, eh? That's cool. He's cool. Sounds like he did good things for you. Reading poetry, I mean, that's the life right there. I've been insanely busy, and I'm getting slightly less insanely busy, and I'm good. Take care, man. ** Steevee, Hi. It had a creep-out factor, I admit. I'm happy to have your friend get in touch with me. Her work sounds very intriguing. You can give her my email, or whatever you think is best. Thanks! I saw a different interview with Eno. Oh, yeah, he was on that kind of odd, strangely appealing BBC show 'Hard Talk' where the host kind of grills the interviewee. Do they show that in the States? He didn't grill Eno. But, yeah, much of the same stuff was talked about. Very interesting. What he says about the breakthrough deriving from computer gaming makes a lot of sense, I think. Curious to read your 'High Rise' review. Everyone, Steevee has reviewed Ben Wheatley's buzz-centric, Ballard-adapted film 'High Rise' for the world's delectation, including yours. ** _Black_Acrylic, Hi, Ben. Thank you, sir. Anthea Hamilton's work was definitely the one that popped out for me among those Turner nominees. I didn't know it before. That butt piece in particular, no surprise. Everyone, do you want to see a sculptural work by the newly Turner Prize nominated artist Anthea Hamilton that has big butt in it? Well, thanks to _B_A, you can. ** MANCY, Hi, Steven! No, I don't know that Valie Export video, but I just looked and saw that it's available in full on youtube, so I will know it later today. Thanks a lot for that, pal! ** Misanthrope, Hi, G. I think your creep-out defenses are probably pretty strong, you sicko. Mine too, I guess. I'm glad your niece is okay. I hope the x-rays came back negative. Wait, I don't know if that's right term. Maybe they should come positive as in happy. I know of Bring Me the Horizon. I've even heard them and seen some of their videos. They are one of the band-shaped gods of the more mainstream-y contingent of the Emo set. Along with Falling In Reverse, Motionless In White, Asking Alexandria, Of Mice & Men, Suicide Silence, et. al. Alternative-ish about covers it, I think. Cool, his first concert! I took my nephew Cody to his first concert, a KROQ 'Almost Acoustic Christmas' thing: Linkin Park, The Offspring, Limp Bizkit, Candlebox, Pennywise, Puddle of Mudd, others. ** Bill, Hi. Thanks! I thought or at least hoped it might suit. Uh, no, re: Thursday plans, not yet. Depends on whether we do a meeting or two, and how jet-lagged we are, etc. Brighton and Berlin, nice! Very nice! ** Postitbreakup, Hi, Josh. Thanks for speaking to Damien's concerns. ** H, Hi, h! Nice to see you! Thank you. Yeah, I like Katz's work too, and that was kind of a really good one, right? I think you'll be very glad that you bought Donald Britton's book if you do. Zac and I are going to San Francisco because the SF Cinematheque is screening 'Like Cattle Towards Glow', and we're invited guests. No, I'm just literally zooming in and out of SF. Crazy fast trip. We're trying to set up a screening of the film in NYC. We've had little luck so far, but we have a lead at the moment. That would get me there. Take care. ** Now please arrange yourselves before your screens and luxuriate in Jamie's post as much as you can and at least until I see you tomorrow.