For the past few Yohji Yamamoto collections, his iconic coats shirts and pants have been adorned with horrific graphics. Beautifully terrifying, these artworks come from the genius mind of Suzume Uchida. I got the chance to speak with her about her life and creative process. Enjoy:)
Tell us about your childhood and how it affected your art today.
Because of the strong oppression from my parents, I couldn’t spend my time as a child at ease. So I thought, “I’m not worth living.” I think this experience was the driving force behind my desire to be reborn with my paintings.
I know you started drawing at a young age, was anyone in your family artistic?
There are no artists in my family. Rather, my family was strongly opposed to becoming an artist, so I was not allowed to go to the art school.
Are there any specific memories you find yourself getting inspiration from when painting?
At the age of eight, I was deeply moved by Renoir’s girl paintings. Because it was incredibly cute. I was surprised why such expressions can be made with oil paint and campus. Since then, I’ve always liked portraiture and impressionism. I feel that it also influenced my production.
Have your art themes always been based off horror?
Not at all. Living and reborn are always themes. Horror is just a means.
Your art seems to represent pain and suffering, does this represent your experience?
Yes, it does. Because real pain, real suffering, and real joy can only come from our own real experiences. And a real experience creates a real work. There is nothing useless in life.
I know you battled anorexia as depicted in your work “Anorexia and Destruction.” I wanted to know how you got through that period in your life and how painting helps you cope with difficult emotions.
My friend really worried about me, so I was able to overcome anorexia. Only we can be responsible for our body and life. I realized that and I can eat little by little. As a result of overcoming the painful experience, my painting was born. can’t make a work unless I learn to be able to look squarely at painful events. Therefore, the completion of the work is a proof of overcoming
Art contains a message. What is your message? How do you want to influence people through art? How do you think your art is helping others?
I believe that people can be reborn during their lives. I want to tell that and I want to move people’s heart. The way they are received can be emotional, sympathetic, or disgust. As long as you start thinking about something. Or, I’d be glad if someone could see my figure and my picture that I got over and get courageous.
Do you like horror movies? If so, do you have a favorite movie?
Actually, I don’t watch much. I’m rather scared and not good at it.
Do you watch anime or read manga? If so, do you have a favorite? I really like Junji Ito and I see similarities between your works.
I especially like manga. It is difficult to decide which manga I like best, but I’m waiting for the latest editions of “HUNTERxHUNTER” and “Lion of March”. Of course I also read Junji Ito’s manga. The woman drawn by Junji Ito is very attractive.
What do you think attracted Yohji to your art?
Master Yoji Yamamoto says, “A man cannot beat a woman.” Such a fear of a woman may be the point. Master Yohji joked, “I was afraid of your painting, so I couldn’t sleep.”
SS20 A character similar to Mr. Yamamoto is drawn in “Spider hug” and “skeleton man and snake woman” of the Youji Yamamoto collection. Is this character Yamamoto-san? If so, is there any reason you wanted to include your own character?
I drew it imagining Master Yohji. This time, Master Yohji requested and asked me to draw a “MONSTER” , in Japanese “BAKEMONO”. That’s why I wanted him to appear in the paintings as a man confronting a monster.
Why do you think people are attracted to horror, and why do you use it as an art theme? Why is horror art easy to express ideas?
Perhaps people have a desire to see something they have never seen. I think people want to experience inexperienced fear. Unrealistic situations give me a lot of imagination in painting.