Yumiko Kayukawa
By Adam Barraclough
I have a crush on the work of Yumiko Kayukawa. Her paintings have an immediate appeal- candy-coated colors, the playfully erotic poses of her subjects, the striking kanji text and the inclusion of random members of the animal kingdom amidst it all are a formula the eye cannot resist. These images have incredible staying power; the bright colors and simple lines burn into your retina, and Yumiko’s characters become fixed in the mind, unshakable. Her mixture of pop fashion, punky attitude, and manga sensibility form a dreamy kind of brilliance that is hard not to fall in love with. I’m not alone in my crush….
Adam Baraclough: You have managed to sell every piece you have ever shown, usually on or before opening night. How does it feel to know that there is so much love for, and appreciation of, your work?
Yumiko Kayukawa: I’m always surprised and completely appreciate it. It seems that the people who love my work enjoy the manga-style and subject matter as much as I do. That’s the amazing part to me. Through my work I feel like I’ve found people that I probably have something in common with.
AB: Do you ever miss a painting once it’s gone?
YK: Yes, I do miss them. There’s not a single painting I’ve ever wanted to sell even though it’s what I do for a living. Each one is a piece of me. Sometimes I get to meet the people who have bought my work and that’s always great.
AB: Your paintings are often discussed in terms of the juxtaposition of traditional Japanese elements, (such as the placement of kanji and the Ukiyoe-esque floating elements) and more modern American elements, (the pop presentation style, your choice of fashionable subject matter, and the evident sex-appeal). Do you feel torn between these two worlds?
YK: No, I don’t feel torn because it is my true culture. I was born, grew up, and currently live in Japan. At the same time I have often been inspired by American culture through things like TV and movies. Especially when I was teenager, imported American culture was very interesting to me. It’s not in me to make a painting totally "Japanese" or totally "American". I just intuitively pick elements I find interesting without attributing them to either culture. One time I was deliberately trying to paint an "American outfit" in a certain piece and nothing came to mind. It might seem jeans would be a good choice, but they have not been exclusively "American" for a very long time; they are just as much Japanese.
AB: There is a certain naughtiness to some of your work- playful elements of bondage and cosplay as well as other fetishes, and a raw youthful sensuality. Do you find that people, critics in particular, misunderstand this aspect of what you do?
YK: I have had fans and friends point out certain pieces that they found "naughty" and every time I’ve been surprised. I realize now how hard it is for people to understand, but I really don’t consciously paint in the "naughtiness". It’s some kind of by-product that I’m not even aware of until people point it out. I don’t really worry about being misunderstood by critics or fans because I believe that people should feel free to read into my work however they want. For me it’s great just to have people see my work and to have a reaction; any kind of reaction.
You can see more of Yumiko’s work at: www.sweetyumiko.com
Images courtesy of the artist.
