"AKASHIC RECORDS 2021 ~Maboroshi no Parade~" will be held from October 23 (Sat) to 31 (Sun) at En STUDIO on the 3rd floor of RAYARD MIYASHITA PARK South. This pop-up event, curated by Tatsuhiko Akashi, President and CEO of Medicom Toy, will feature a wide array of art, toys, and apparel, including rare "phantom" items that cannot be obtained elsewhere, themed around early hit songs by THE COLLECTORS, whom Akashi deeply admires.
Following last year's event, OPENERS is again publishing a special feature to enhance your enjoyment of this year's exhibition. Here, we focus on the "Kutani BE@RBRICK NAGNAGNAG × COOP (EDITION 1)" (one-of-a-kind, with lottery sales planned via the web during the exhibition period) and present an interview with Satomi Kawata, the Kutani Ware artist who was key to realizing this project.

Since his first original sofubi work, "Bouryoku Genjin," he has consistently delivered shockwaves worldwide with each new release, yet his true identity remains shrouded in mystery. At last year's "AKASHIC RECORDS," the reclusive artist NAGNAGNAG unveiled the colossal 6-foot (approx. 180cm) tall figure,6FT NAGNAGNAG FOUR EYES (EDITION 1).

COOP, a leading figure in lowbrow art and a representative artist of the American West Coast, has created numerous posters and album covers for renowned rock bands such as Nirvana, Sex Pistols, and Soundgarden. His recent collaboration with NAGNAGNAG garnered significant attention.

Midland Creation Inc. aims to create new artistry and values by bridging the high culture of fine arts and crafts, passed down through generations, with subculture represented by manga and anime. They produce 400% BE@RBRICK figures made of Kutani Ware, incorporating movable joints.

Masato Naka, President and CEO of Midland Creation, speaks about this dream project, "Kutani BE@RBRICK NAGNAGNAG × COOP (EDITION 1)," a collaboration between these three entities and Medicom Toy.

"For the faithful reproduction of 'Bouryoku Genjin' in Kutani Ware, we enlisted Satomi Kawata, a painter who made a significant impact on many with her 'Kutani BE@RBRICK Kachou Fuuga' last year. Her reproduction of 'Bouryoku Genjin,' so astonishing it defies belief, is a masterpiece that once again delivers the 'Kawata Impact.' It is truly a testament to the new possibilities of Kutani BE@RBRICK and a special one-off model born from the trust between NAGNAGNAG and Medicom Toy."

This "Kachou Fuuga," exhibited and sold at last year's "AKASHIC RECORDS," was positioned as an index model for future Kutani BE@RBRICKs, envisioned as a "Kutani BE@RBRICK that time-slipped from the future."Akashi himselfstated, "In retrospect, it serendipitously became a masterpiece that perfectly embodied the theme of AKASHIC RECORDS, 'The future transforms according to what you create (imagine).'"offering his highest praise.

We asked Satomi Kawata about the story behind that piece.

"It all began when Mr. Naka of Midland Creation asked me, 'The president of Medicom Toy, Mr. Akashi, has someone he's very grateful to. Would you be able to paint something as a gift for his wife?' I was thrilled at the prospect of painting a BE@RBRICK, something I never imagined I'd do, and eagerly accepted."

"During our meeting, Mr. Naka repeatedly mentioned 'gratitude' and emphasized that I shouldn't worry about the production cost but should create something that truly expresses that sentiment. Therefore, I used 'Hana-zume,' an old technique of filling the space with flowers, and combined flowers with meanings of gratitude and an elegant, noble image. I poured my heart into it, hoping to create something that would convey Mr. Naka's feelings and be as beautiful as possible."

"When President Akashi saw the finished piece, he said it would be a shame to keep it to himself and that he wanted to offer it to customers. I heard from Mr. Naka that the decision to sell it at 'AKASHIC RECORDS' was made quite suddenly."

Shortly after the unveiling of the highly acclaimed "Kachou Fuuga," in early 2021, Mr. Naka received an email from Mr. Akashi. It contained four photographs and one illustration, with the message:Are there any painters who can reproduce this design?was the question.

The illustration was titled "Bouryoku Genjin," and the photos appeared to be of a 200% Chogokin BE@RBRICK model with "Bouryoku Genjin" printed all over it. This was a sample created internally at Medicom Toy, and the original is now lost and no longer exists.

Even with the four-sided development views, it was difficult to fully grasp how the design would wrap around the sides, and Mr. Naka had concerns about how faithfully it could be reproduced in three dimensions and how precisely the fine logos could be painted. Furthermore, applying the "red" that characterizes "Bouryoku Genjin" evenly in Kutani Ware requires precise technique and considerable effort. When considering an artist capable of this task, Mr. Kawata was the first person who came to Mr. Naka's mind.

However, the design seemed to be the antithesis of the style Ms. Kawata had cultivated, and he worried it might be disrespectful to ask an artist to reproduce another artist's work. Therefore, he first inquired if Ms. Kawata could introduce an artist who would meet her approval.

"I also teach at a training institute, so I was asked if I knew any graduates who could paint it and if I could introduce them. However, looking at the photos, I felt the detail was so fine that it would be impossible to express without using Western paints, so I thought it would be too difficult for a graduate to reproduce.

Kutani Ware uses two main types of paints: Japanese paints, which become vitreous after firing, and Western paints, which are opaque and can be applied like watercolors. Currently, the majority of artists use Japanese paints, and even my mentor, Mr. Toshihito Nakamura, with whom I have studied for over 10 years as an assistant, says there are few who can use Western paints as the primary medium, like in 'Kachou Fuuga.'

Mastering Western paints requires extensive experience, including repeated testing to understand the reactions between minerals and how colors appear after high-temperature firing. Therefore, I said, 'If you think I'm up to it, may I try?' and took on the challenge."

Mr. Nakacommented, "Looking back, it was a breakthrough point that allowed us to realize such a high-quality 'NAGNAGNAG × COOP' when Ms. Kawata agreed to take on the project."Furthermore, the NAGNAGNAG side also held Ms. Kawata's work on "Kachou Fuuga" in high regard, so it was fortunate that the project could proceed with their full trust.

"I knew about the culture of art toys, but I wasn't familiar with who was making what kind of work. When Mr. Naka first showed me images of NAGNAGNAG's work, my immediate reaction was simply 'Wow.' I wondered, 'What is the intention behind this? What does it mean to have bones and internal organs exposed? What is inside the stomach?' I examined it with many questions in mind.

"When I studied graphic design, my professor taught me about the concept behind creating art, emphasizing that every artist has a hidden meaning and deep intent. So, I'm always curious about the story embedded within their work. I wondered why the bones were held together by metal plates, who the person in the stomach was, and the more I thought about it, the more fascinating it became to draw."

Believing that "the face is the soul of a doll," Ms. Kawata meticulously observed the face from various angles during the line drawing (outline) phase, repeatedly making corrections while comparing it with the sample photos taken within Medicom Toy.

Particular attention was paid to the reproduction of colors. One challenge was the use of "selenium red," a glaze, for the overall "red" of the body. In Kutani Ware, selenium red is typically not applied with a brush due to issues with uneven application and color development. However, Ms. Kawata boldly chose to apply it as an overglaze with a brush. The process involved six to seven firings for the selenium red alone, and a total of eight firings including other overglazes.

Generally, the more times a piece is fired, the more likely issues with paints and glazes are to occur, so artists often limit firings to avoid risks. However, Ms. Kawata aimed for high quality by repeatedly firing the piece while finely adjusting the firing temperature. It is rare to find an artist willing to undertake such extensive work.

"I worked with my smartphone nearby, zooming in on images and stepping back to see the overall picture. It was very difficult to ensure the colors on the screen accurately represented the actual hues. For colors that didn't appear in my previous flower paintings, I bought new paints and tested them. Including the detailed work of adjusting the balance when translating a flat design into a three-dimensional object, it took about 40 days to complete. I was determined to create a piece that would satisfy NAGNAGNAG's long-time fans, so I focused on reproducing it as faithfully as possible."

The color reproduction of the bones and internal organs, apart from the red areas, also shows meticulous attention to detail. For example, even within the color "purple," the shade differs depending on the location. Ms. Kawata zoomed in on the illustration to compare the purples on the torso, head, and legs, analyzing the colors. She also discerned subtle differences in the blue and green tones used for the ribs, arms, legs, and face, and applied the colors accordingly.

Mr. Naka expressed his admiration for this meticulous dedication, stating, "It's something you wouldn't notice unless you looked closely, but when you do, you can tell the difference. This level of reproduction is the true essence of this 'NAGNAGNAG × COOP.' It is as profound as the hidden message within 'Bouryoku Genjin.'"

The background for undertaking such a unique endeavor is largely due to Ms. Kawata's proficiency in color theory, having obtained a Level 2 Color Aptitude Test certification while studying graphic design before becoming a Kutani Ware artist. The circular logo on the back of the head, which Mr. Naka initially worried about, was drawn freehand without a compass, and the "JOKER" on the side of the left leg was reproduced with a precision that is hard to believe it was hand-drawn.

Ms. Kawata once aspired to be a creator and gained various experiences, including working at an advertising agency. She later returned to her hometown, Ishikawa, graduated from the Kutani Ware Training Institute, and apprenticed under Toshihito Nakamura. Certified as a Japan Traditional Craftsman in 2017, she is currently busy working as a potter in Nomi City while also serving as a lecturer for the Kanazawa College of Art and Craft's "Hana-zume" program. When asked about what inspired her to learn Kutani Ware techniques, she replied:

"My father was a potter on the wheel, and my mother was a painter specializing in underglaze decoration, so Kutani Ware was a very familiar presence in my life from childhood. Both my parents loved art, so they often took me to museums, and I came to like the paintings of Salvador Dalí. However, having grown up surrounded by Kutani Ware and constantly being told 'Don't break it, and don't touch it because fingerprints will prevent the paint from adhering,' I felt that there must be something more wonderful out there whenever I saw other artworks.

"I thought that digital drawing would produce clearer results than hand-drawing, so after graduating from high school, I left my hometown and studied digital design in Nagoya. However, at the high-end Japanese restaurant where I worked part-time, the owner and chefs treated the sencha bowls made by my parents with extreme care when serving them to customers. Surprised, I called my father immediately after my shift ended to tell him. He said, 'Then it's a reputable establishment. Keep up the good work.' I realized that both my parents took pride in their work, and seeing how people cherished it so far away made me truly appreciate the value of Kutani Ware for the first time. That's why I returned to my hometown and enrolled in the training institute to study Kutani Ware anew."

Kutani Ware, exported as "Japan Kutani" during the Meiji era and highly acclaimed worldwide, continues to evolve. In 2019, OPENERS published a long interview with Mr. Naka, who is paving the way for the future of traditional crafts through Kutani BE@RBRICK, titled "I want to leave something that can be passed down through generations as a family heirloom and a work of art."(Part 1) (Part 2)which garnered significant attention.

Regarding the current "Kutani BE@RBRICK NAGNAGNAG × COOP (EDITION 1)," Mr. Nakastates, "This Kutani BE@RBRICK can be described as a 'Realization Model' because it embodies the 'phantom sample' created within Medicom Toy that was lost, and the 'development we envisioned like a phantom' at Midland Creation has been brought to fruition."he positions it.

This miraculous one-off piece, destined to become an art piece passed down as a family heirloom for generations to come, is a testament to the project's realization at such a high quality, likely due in large part to Ms. Kawata's sincere personality. When you visit "AKASHIC RECORDS 2021 ~Maboroshi no Parade~," we highly recommend experiencing this masterpiece firsthand.

"In today's world, even 100-yen shops offer high-quality bowls, so I believe those who choose traditional crafts, especially expensive Kutani Ware with hand-painted designs and intricate details, are truly passionate about it. With lifestyles no longer centered around traditional alcoves or Buddhist altars, I am constantly thinking about creating works that can be naturally placed within everyday life.

The pieces I paint are mainly tea and sake ware. When I ask my customers why they purchase them, many are elderly men who say, 'I want to drink sake from this cup on a day when I treat myself.' Isn't treating yourself a wonderful thing? I strive every day to create pieces worthy of such occasions, ensuring no shortcuts are taken and continuously honing my skills."

"When 'Kachou Fuuga' was completed, Mr. Naka and his team were truly delighted. I received a long email after delivery expressing their deep emotion, which put me at ease. I am looking forward to the reaction to this current piece, and I would be happy to participate again if there are future developments."

Kutani BE@RBRICK
NAGNAGNAG × COOP (EDITION 1)
Producer | Masato Naka (midland Creation)
Painting | Satomi Kawata
SUPERVISOR | NAGNAGNAG
Size | Approx. 280mm in height
Release Date | Scheduled for release in October 2021.
Sales Method | Lottery sale via the web from October 23 (Sat) to October 31 (Sun).
For details, please check the Medicom Toy Official Blog (http://www.medicomtoy.tv/blog/).
Price | ¥2,200,000 (tax included)
©️NAGNAGNAG
BE@RBRICK TM & ©️ 2001-2021 MEDICOM TOY CORPORATION. All rights reserved.

"AKASHIC RECORDS 2021 ~Maboroshi no Parade~"
Venue | En STUDIO [RAYARD MIYASHITA PARK South 3F]
Location | 6-20-10 Jingumae, Shibuya-ku, Tokyo
Period | October 23, 2021 (Sat) - October 31, 2021 (Sun)No closing days during the exhibition period
Opening Hours | 11:00 - 20:00
*Opening hours may change due to the spread of COVID-19. For details, please check the official RAYARD MIYASHITA PARK website in advance.websiteetc.
Admission Fee | Free
Purchases are not permitted between 11:00 and 12:15 during the exhibition period, but entry and viewing are free for all.
*Please note that entry may be restricted due to crowding at the venue on the day.