村上隆のインスタグラム(takashipom) - 9月7日 06時51分

part2
... When he was younger in the US, he was part of a group called Barnstormers, led by David Ellis, but he had to return to Japan at one point. Back in Japan, he was exploring his style by spraying lewd jokes and fashion logos on small panels because, as I understand it, inventing a style is very important for a graffiti artist. But I think when you start painting on canvas—that is, when you step into the context of contemporary art—you are no longer merely talking about style. Of course, artists like the late Basquiat and Keith Haring had their intense styles, but I thought MADSAKI had to dig deeper into the bottom of his heart, to find something like the origin of his creativity. So I discussed this and other things with him and found out that his relationship with his wife was at a precarious place at the time. I then suggested to him that he paint his wife, and that’s how his “Wife” series started. At that point, perhaps you could say he was no longer a street artist or a graffiti artist.
The “Wife” series, painted in his unrefined style, has been very well received, and MADSAKI is gradually gaining confidence of a kind. But to begin with, are refined skills in the street art sense of the word really necessary?
We can’t deny that Japanese graffiti began as imitations of American and European graffitis. But there’s no rule that says one shouldn’t depict mundane themes from one’s daily life in graffiti style like MADSAKI does. I think original artistic expressions can emerge when you combine personal narratives and the Japanese graffiti style. In that sense, the comments such as “toy” and “no skill” may actually be the gospel that points to the future of Japanese graffiti.

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