Asato Kitamura is a Parsons MFA 2020 graduate who recently debuted an amazing collection called Catharsis. His pieces exemplify human torment and serve more as wearable art than your typical ready-to-wear. We caught up with him before his New York exhibition to learn more about his background and process.
If you could tell me something about yourself, what would best help me understand why your work looks the way it does?
The lack of affection and loneliness experienced in childhood have a strong influence on this work.
I understand what you said about believing that fashion can sublimate pain into elegance. What is the first step in turning an experience into a work of art?
Be honest with yourself. Write everything down and understand the causal relationship to “why do I think so now?”
The artist’s statement on your website says that your parents followed the Nichiren Shoshu religion. Were any aspects of that religion reflected directly in the clothing?
I tried not to reflect directly on the garment itself, but only on the design of the shoes. For me, that religion was the starting point for my interest in the big topic of improving self-affirmation, and I didn’t want to discuss religion itself.
I read that you studied a lot of Freud and Nietzsche in graduate school. Have you ever decided to visually express these two ideas of hers in your work, such as Id?
Before researching other philosophers, I matured my philosophy by thinking about how I perceive the world and people. After that, I researched what other philosophers were discussing, and since their philosophies were similar to mine, I decided to express the ideas visually.
Was there a contradiction between fulfilling Nietzsche’s ideas and the heavy presence of religion in your work?
There was a contradiction. If you look at multiple big ideas, I think there will always be contradictions between them. But I think an artist is someone who keeps holding contradictory beliefs within themselves, so I was very lucky to be able to experience that.
You often speak of the beauty of the imperfections of human existence. Are there any imperfections in your metaphorical work?
There are always imperfections in my collection. Elements of imperfection, such as silhouettes based on draping and details that look like frayed threads, are consciously scattered everywhere.
Your work is very sculptural. Were you surrounded by many crafts growing up, or did you find your love for them later in life?
Since my childhood, I have been surrounded by religious architecture and sculptures, so I think it has had a strong influence on me.
Where do you plan to exhibit your work next?
The exhibition will be held at Mizuma & Kip’s gallery in NY from 6 pm on December 10th.
interview written by my intern Ross Moser @ross_moser_