Keita Miyazaki was born in Tokyo, Japan in 1983. He has studied at Tokyo University of the Arts, Japan (2003-2009) and at the Royal College of Art, UK (2011-2013). He has exhibited work in solo and group shows in the UK and Japan, including exhibitions at Ai Gallery, Aoyama Spiral Hall and Mori Arts Centre in Japan and at the Void Art Gallery in the UK.
In 2007 Miyazaki won The Government of Tokyo Prize for his BA Show at Tokyo University of the Arts. Following this award his work was selected for the public collection of Ogi Kankou Ltd and his work was displayed as a public artwork on Sado Island, Niigata Prefecture, Japan. He has also won the Haruji Naitou Prize and Ataka Prize from Tokyo University of Arts, Japan.
Dystopia and Utopia: Is your Art a vision on our future as species?
I could say that it is, yes. I am trying to create an imagined space, which reflects a vision of a contemporary society. Utopia, in my opinion, is synonym for ‘nowhere’; my vision tries to be an utopia as well as a dystopia.
What’s your definition of ‘hope’? Does your work send a message of hope?
My definition of ‘hope’ would be ‘to speculate for a better world’. I am not trying to send a message of hope with my work but I still believe in man’s imagination and its power to create a better world.
In your post-Apocalyptic work there are vivid colors, is it safe to say there is also a fun side to your work?
Yes, definitely. Art pieces should have fun elements or something which triggers a feelling of joy. I feel current art movements often lean too much towards critiquing contemporary society, politics and economics; of course, these are extremely valid subjects for art but I believe in the power of beauty and poetry as catharses. Religions give good examples of this with the cathedrals, temples and shrines. I simply hope that my work is not only seen as a critique of society but also as a fun statement, like you mentioned.
Which other word best describes “destruction” for you?
Who do you regard as the three best artists right now, those you get inspired by and feel deeply connected to, and why.
I learn a lot from his work, for instance regarding his creation of complex images and his use of different media to achieve this; I am also captivated by his large-scale works particularly those relating to cinema.
Her installation works are beautiful. Her poetical elements inspired me to think of the relationship between industry and nature.
I saw a large installation of his at the Venice Biennale, which was incredible. It had such a strong visual impact, which in my opinion perfectly revealed capitalist violence in our contemporary society. I respect his attitude as an artist and appreciate his sense of materiality.
Sounds are no longer sounds, paper is no longer paper, motors are no longer motors; it all comes together, layered. What is your process when you first start imagining a work? How do your ideas become material, do the final work change a lot from the original idea?
A work is constantly changing during the creation process. I sketch to stimulate my imagination but the drawings are never complete design plans. I enjoy the ‘negotiation’ that occurs with my materials during the creation process; possibilities immerge instantly.
How do you feel about death, and how the thought of it influences your Art?
Thinking about death is another way of considering existence. I reflect about death in relation to various subjects such as the body, society and also in relation to myself; it offers and alternative to seeing and understanding things. This perspective does influence my work, so yes I tend to think about death in/through my art.
The happiest day of your life you would be doing what?
Creating something makes me happy.
When everything is fallen, destroyed, will we then go back to nature?
This is quite difficult to answer, but I can imagine we will deliberate about our survival in nature at that moment more than we do now.
Which message do you want to leave to future generations with your Art?
I want to leave visual images with my art.
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