WW: The references in your work range from 14th-century paintings, to sci-fi, to contemporary pop culture. What were some of the inspirations for this series of work?
AYA TAKANO: What I was mainly interested in painting this time were costumes and customs I found from a book published in Japan in the 1970s or 80s that contained photos of all the world’s tribes and ethnicities. The photos captured a lot of images that will probably never be seen again. I also wanted to explore what they revealed about the everyday relationship between humans and animals and the geometric patterns of ancient tattoos. There’s a great similarity between the tattoos seen in the ethnic minorities of southern Japan and those of other Pacific islands.
WW: You're one of the artists in the group Kaikai Kiki. How does it feel to be handpicked along with other young artists like Chiho Aoshima and Rei Sato by Takashi Murakami?
AT: Among the artists you mentioned, Chiho and Rei, I was chosen by Takashi to be part of Kaikai Kiki first - Mr. was there even before me, though. When I first met Takashi he wasn’t the big star he is now, but, considering that I was a mere student, I was still very happy to be receiving compliments and support from a professional artist.
WW: This will be your first solo show in New York. How do you feel going into it?
AT: I just hope that I’ve put forward the best paintings that I was capable of at the time. The reaction has been unexpectedly positive, so I feel great!
WW: You've said the first time you saw Yayoi Kusama you're whole body had a reaction. Is it a goal in your work to have your audience get a similar feeling when looking at your work?
AT: My philosophy is that a work of art is meaningless unless it can produce some kind of deep, instinctual reaction.
WW: Some of your influences include sci-fi novels and comic books by, for example, by Osamu Tezuka. Have you read anything recently that you'd recommend?
AT: These days, I’m really interested in physics. I feel like the world of physics is getting closer and closer to what we’ve seen in science fiction and it makes me very excited. I’ve also been re-reading William Burroughs a lot lately.
WW: Along with the exhibition opening at Skarstedt Gallery, your graphic novel Cosmic Juice will be released. It follows the adventures of Asto Uruta. Tell me about your process when writing a graphic novel? How does it differ from when you paint?
AT: I tried to reproduce the storytelling style Osamu Tezuka used in his manga Phoenix, which includes lots of cells, and a slightly hard to read, retro feel. I wanted to see how well it would play out in today’s world.
