The BE@RBRICK exhibited under the name "KNAVE BY YUCK" at "MEDICOM TOY EXHIBITION '23" garnered significant attention. Its full story is finally revealed in this interview! We asked about their journey so far, including the relationship between KNAVE and YUCK.

KNAVE, established in Shinjuku, Tokyo in 2005, releases original apparel and sofubi figures produced from a unique perspective. And YUCK, a graffiti writer active in all-around actions from metal hits to production pieces.
At "MEDICOM TOY EXHIBITION '23" held this July, a BE@RBRICK produced by the two under the name "KNAVE BY YUCK" was suddenly announced, drawing considerable attention.
The surface, meticulously recreating YUCK's graffiti, reveals a statue of the Virgin Mary and the lyrics of "Ave Maria" when illuminated by UV light. To commemorate the release of this BE@RBRICK, imbued with a prayer for peace, we received email interview responses from YUCK regarding his thoughts on the work and his relationship with KNAVE, details previously unrevealed.

— First, could you tell us about YUCK's background? What inspired you to start graffiti, and what do you find appealing about it?

YUCKMy crew is H2F. and INO. I first picked up a can around '96 and started bombing as YUCK in '98. AKE and I formed H2F. around 2000. I joined INO around 2004.
I was more influenced by the scene in Sakuragicho and Kanagawa than overseas. The appeal of graffiti, hmm, what is it? After 25 years, it's become my life's work, so it's hard to say.

— You're releasing a BE@RBRICK as "KNAVE BY YUCK" this time. Could you tell us about the relationship between KNAVE and YUCK?

YUCKI started KNAVE in 2005. To avoid bringing my tag name into society while continuing as a vandal, I kept YUCK's name hidden and started the brand under the name HIT.
For this BE@RBRICK release, YUCK is already written extensively within the design, and those who know, know. More importantly, I recognized MEDICOM TOY as a company that respects the intentions and existence of creators, so I felt it was a good opportunity to connect YUCK and KNAVE.

— KNAVE's website states, "Established in Shinjuku in July 2005. With a graffiti backbone and 'Cynical' as the main theme, we transmit graphics with a satirical take on society and the establishment through apparel." Could you tell us about the circumstances leading to the launch of this brand and the main items you've released so far?

YUCKIn my early twenties, while working as a graffiti writer, I was also a regular salaryman, working as a designer. However, through acquaintances, I started getting requests for logo and apparel designs, so I was already vaguely formulating the concept for KNAVE. I took advantage of a period of change at my company to resign and go independent, launching KNAVE.

For the first few years, I regularly released collections. However, around the time of the Lehman Shock, many of our retail partners went out of business, and our wholesale accounts drastically decreased. At that point, I keenly realized how much I had relied on stores and how passive I had been. After that, I gradually scaled down, eventually transitioning entirely to an online store.
As the pandemic subsided, I closed that online store as well. Currently, I focus on events overseas and my own exhibitions.

— KNAVE and MEDICOM TOY have previously released the VAG figures "KATAKID" and "GUNJO." Could you tell us about how you became interested in sofubi, the background behind the creation of "KATAKID" and "GUNJO," and how you first encountered MEDICOM TOY?

YUCKAs a middle schooler, I loved Predator and collected American toys. I often went to ZAAP! in Shibuya. When I entered high school, a shop specializing in Japanese vintage toys opened near my parents' home, and I started frequenting it. That's when I began collecting sofubi.

I've continued collecting ever since without interruption. The owner of Punk Drunkers started telling me for about two years, "If you love sofubi so much, you should make your own; you'd make something great." So, KATAKI was born with the concept of creating an enemy for that character (the main character of Punk Drunkers). By chance, KATAKI caught the eye of Mr. Akashi on social media, and he reached out, leading to the production of our first VAG.

— We heard that for this "BE@RBRICK KNAVE BY YUCK P(L/R)AYER 400% / 1000%," you directly approached Mr. Akashi, president of MEDICOM TOY, with the idea. What kind of discussions did you have?

YUCKWhen we produced the VAG of KATAKI, there was a casual mention of BE@RBRICK, but at the time, I said, "Please let me know when you have an interesting idea." In 2019, I held a joint exhibition with Punk Drunkers in NY, and in 2021, a solo exhibition in Tokyo, where I displayed sofubi and canvases I had been painting in my spare time.

The canvases were unexpectedly well-received in Tokyo, selling out almost completely. Since MEDICOM TOY had sent flowers, I visited to express my gratitude. I brought one of the remaining canvases and showed it to Mr. Akashi, asking if it would be possible to translate it directly into a BE@RBRICK. He said that since he hadn't done anything like it before, they didn't have the technology yet, and mass production seemed difficult, but that precisely made it worthwhile. That's how the long, long production process began.

— The entire body of the BE@RBRICK is adorned with YUCK's graffiti. Could you tell us about the production process, including the concept, color scheme, and any challenges you faced in applying them to the BE@RBRICK?

YUCKOver a decade ago, I was repeatedly scribbling and testing on a single canvas without any particular intention. A few years later, that canvas had transformed into a scene resembling a city wall covered in graffiti. I found potential and intrigue in that, which led to my current style. I began this canvas work with the aim of creating a balance between the accidental chaos of the city and a sense of inevitability.

For the BE@RBRICK, I first painted two canvases, creating a repeating pattern that connects in all directions—up, down, left, and right. The content I painted on the canvases includes many words commonly heard in relation to war and terms frequently used in the street scene, often with harsh meanings.

The most challenging part was expressing the effect where a different image appears when UV light is shone on it, a style I coincidentally conceived during an exhibition in NY and later evolved, within a mass-produced BE@RBRICK.
For reference, here's an example.
The images below are fragments of a large canvas. The left and right images show the same area of the same painting. While all the areas illuminated by UV light on the right are visible in the brighter state on the left, they become obscured by the vast amount of background information.

— Where did the idea of a statue of the Virgin Mary and the lyrics of "Ave Maria" appearing when UV light is shone on the surface come from? And why did you choose the Virgin Mary and "Ave Maria"? Please also tell us the origin of the work's title, P(L/R)AYER.

YUCKWhile I was contemplating what motif to hide within the base design (background), the war between Russia and Ukraine began, which was one trigger. Although the devastation of war-torn areas differs from graffiti-covered city walls, I felt the word "chaos" could encompass both. When I considered a symbol of prayer for the "chaos of each era," this image was the only one that came to mind. However, it was a religious image, so I agonized over it. There were indeed opposing opinions.

This is personal, but I've always liked looking at and researching religious paintings and related designs. My interest was more visual than spiritual, leading me to attend services and incorporate such imagery into my own work. While I don't have an altar at home, I feel a certain closeness to it.

Perhaps it's a habit from graffiti, but I tend to combine images with text. Since I depicted the Virgin of Guadalupe, I chose the Latin version of the "Ave Maria" lyrics. Regarding the work's title, P(L/R)AYER, PLAYER refers to those operating in the front lines of the scene, PRAYER refers to those offering prayers for such individuals facing an uncertain future, and (L/R) signifies that the original artwork consists of two canvases.

— We understand that a special process was newly developed for the production of this BE@RBRICK, and a patent has been applied for.

YUCKI don't have the materials with me right now, so I can't go into detail, but it's about a technique to translate my canvas style into a three-dimensional product for mass production. I was merely the originator of the idea, and MEDICOM TOY handled the technical aspects and rights. Frankly, it hasn't fully sunk in.

— What are your impressions of the completed BE@RBRICK?

YUCKIt's incredible, truly. I'm constantly in awe of MEDICOM TOY's technical skill and ability to reproduce details. I fondly recall the second meeting after proposing the idea, where the four of us—Mr. Kataoka from Production Management, Mr. Kiyomoto from Planning and Development Graphics, and President Akashi—were all scratching our heads.
We were saying things like, "It's not visible yet, but there must be a way!" It took a year and a half to complete, but I believe we've created something remarkable.

— You must have many more ideas you'd like to realize with MEDICOM TOY. What are you considering for a second release and beyond?

YUCKFor now, we've established a new method of expression. I'm excited to see how this method will evolve within MEDICOM TOY. I feel the possibilities for expression are endless depending on the application.
I'm looking forward to seeing how it evolves into more complex and intricate presentations. Even if I'm not the one doing it, I'm eager to see what interesting things other artists and designers will create using this method.
I'd also like to do VAG again and create large-scale sofubi. I want to bring to life things that KNAVE alone cannot achieve, with the help of MEDICOM TOY.

— What are your impressions of MEDICOM TOY?

YUCKDespite being a large company, they are incredibly flexible. Even just the meetings are exciting and very enjoyable every time. Also, all the employees wear cool NIKE shoes, which I envy.

— Finally, could you tell us about your future plans and aspirations for YUCK and KNAVE?

YUCKFor YUCK, I want to continue doing as I please. For KNAVE, I'm currently focusing more on overseas activities than domestic ones, so I plan to continue initiating various projects, primarily in the US. There are already several things in the pipeline, so please look forward to them.
My current dream is to tour NY, Chicago, and LA for a solo exhibition. I hope it comes true before I die.

BE@RBRICK KNAVE BY YUCK P(L/R)AYER 400% / 1000%
Size | Approx. 280mm / 700mm tall each (UV light included)
How to Purchase | Pre-orders accepted from September 24, 2023 (Sun) 0:00 to October 10, 2023 (Tue) 23:59 at MEDICOM TOY PLUS stores and MCT TOKYO (http://mct.tokyo)
Price | [400%] ¥16,500 (tax included) / [1000%] ¥85,800
Release Date | Scheduled for February 2024 release and shipping
BE@RBRICK TM & ©︎ 2001-2023 MEDICOM TOY CORPORATION. All rights reserved.