Nobody’s Fool ( January 2011 )
Yoshitomo Nara
Do people look to my childhood for sources of my imagery? Back then, the snow-covered fields of the north were about as far away as you could get from the rapid economic growth happening elsewhere. Both my parents worked and my brothers were much older, so the only one home to greet me when I got back from elementary school was a stray cat we’d taken in. Even so, this was the center of my world. In my lonely room, I would twist the radio dial to the American military base station and out blasted rock and roll music. One of history’s first man-made satellites revolved around me up in the night sky. There I was, in touch with the stars and radio waves.
It doesn’t take much imagination to envision how a lonely childhood in such surroundings might give rise to the sensibility in my work. In fact, I also used to believe in this connection. I would close my eyes and conjure childhood scenes, letting my imagination amplify them like the music coming from my speakers.
But now, past the age of fifty and more cool-headed, I’ve begun to wonder how big a role childhood plays in making us who we are as adults. Looking through reproductions of the countless works I’ve made between my late twenties and now, I get the feeling that childhood experiences were merely a catalyst. My art derives less from the self-centered instincts of childhood than from the day-to-day sensory experiences of an adult who has left this realm behind. And, ultimately, taking the big steps pales in importance to the daily need to keep on walking.
While I was in high school, before I had anything to do with art, I worked part-time in a rock café. There I became friends with a graduate student of mathematics who one day started telling me, in layman’s terms, about his major in topology. His explanation made the subject seem less like a branch of mathematics than some fascinating organic philosophy. My understanding is that topology offers you a way to discover the underlying sameness of countless, seemingly disparate, forms. Conversely, it explains why many people, when confronted with apparently identical things, will accept a fake as the genuine article. I later went on to study art, live in Germany, and travel around the world, and the broader perspective I’ve gained has shown me that topology has long been a subtext of my thinking. The more we add complexity, the more we obscure what is truly valuable. Perhaps the reason I began, in the mid-90s, trying to make paintings as simple as possible stems from that introduction to topology gained in my youth.
As a kid listening to U.S. armed-forces radio, I had no idea what the lyrics meant, but I loved the melody and rhythm of the music. In junior high school, my friends and I were already discussing rock and roll like credible music critics, and by the time I started high school, I was hanging out in rock coffee shops and going to live shows. We may have been a small group of social outcasts, but the older kids, who smoked cigarettes and drank, talked to us all night long about movies they’d seen or books they’d read. If the nighttime student quarter had been the school, I’m sure I would have been a straight-A student.
In the 80s, I left my hometown to attend art school, where I was anything but an honors student. There, a model student was one who brought a researcher’s focus to the work at hand. Your bookshelves were stacked with catalogues and reference materials. When you weren’t working away in your studio, you were meeting with like-minded classmates to discuss art past and present, including your own. You were hoping to set new trends in motion. Wholly lacking any grand ambition, I fell well short of this model, with most of my paintings done to satisfy class assignments. I was, however, filling every one of my notebooks, sketchbooks, and scraps of wrapping paper with crazy, graffiti-like drawings.
Looking back on my younger days—Where did where all that sparkling energy go? I used the money from part-time jobs to buy record albums instead of art supplies and catalogues. I went to movies and concerts, hung out with my girlfriend, did funky drawings on paper, and made midnight raids on friends whose boarding-room lights still happened to be on. I spent the passions of my student days outside the school studio. This is not to say I wasn’t envious of the kids who earned the teachers’ praise or who debuted their talents in early exhibitions. Maybe envy is the wrong word. I guess I had the feeling that we were living in separate worlds. Like puffs of cigarette smoke or the rock songs from my speaker, my adolescent energies all vanished in the sky.
Being outside the city and surrounded by rice fields, my art school had no art scene to speak of—I imagined the art world existing in some unknown dimension, like that of TV or the movies. At the time, art could only be discussed in a Western context, and, therefore, seemed unreal. But just as every country kid dreams of life in the big city, this shaky art-school student had visions of the dazzling, far-off realm of contemporary art. Along with this yearning was an equally strong belief that I didn’t deserve admittance to such a world. A typical provincial underachiever!
I did, however, love to draw every day and the scrawled sketches, never shown to anybody, started piling up. Like journal entries reflecting the events of each day, they sometimes intersected memories from the past. My little everyday world became a trigger for the imagination, and I learned to develop and capture the imagery that arose. I was, however, still a long way off from being able to translate those countless images from paper to canvas.
Visions come to us through daydreams and fantasies. Our emotional reaction towards these images makes them real. Listening to my record collection gave me a similar experience. Before the Internet, the precious little information that did exist was to be found in the two or three music magazines available. Most of my records were imported—no liner notes or lyric sheets in Japanese. No matter how much I liked the music, living in a non-English speaking world sadly meant limited access to the meaning of the lyrics. The music came from a land of societal, religious, and subcultural sensibilities apart from my own, where people moved their bodies to it in a different rhythm. But that didn’t stop me from loving it. I never got tired of poring over every inch of the record jackets on my 12-inch vinyl LPs. I took the sounds and verses into my body. Amidst today’s superabundance of information, choosing music is about how best to single out the right album. For me, it was about making the most use of scant information to sharpen my sensibilities, imagination, and conviction. It might be one verse, melody, guitar riff, rhythmic drum beat or bass line, or record jacket that would inspire me and conjure up fresh imagery. Then, with pencil in hand, I would draw these images on paper, one after the other. Beyond good or bad, the pictures had a will of their own, inhabiting the torn pages with freedom and friendliness.
By the time I graduated from university, my painting began to approach the independence of my drawing. As a means for me to represent a world that was mine and mine alone, the paintings may not have been as nimble as the drawings, but I did them without any preliminary sketching. Prizing feelings that arose as I worked, I just kept painting and over-painting until I gained a certain freedom and the sense, though vague at the time, that I had established a singular way of putting images onto canvas. Yet, I hadn’t reached the point where I could declare that I would paint for the rest of my life.
After receiving my undergraduate degree, I entered the graduate school of my university and got a part-time job teaching at an art yobiko—a prep school for students seeking entrance to an art college. As an instructor, training students how to look at and compose things artistically, meant that I also had to learn how to verbalize my thoughts and feelings. This significant growth experience not only allowed me to take stock of my life at the time, but also provided a refreshing opportunity to connect with teenage hearts and minds.
And idealism! Talking to groups of art students, I naturally found myself describing the ideals of an artist. A painful experience for me—I still had no sense of myself as an artist. The more the students showed their affection for me, the more I felt like a failed artist masquerading as a sensei (teacher). After completing my graduate studies, I kept working as a yobiko instructor. And in telling students about the path to becoming an artist, I began to realize that I was still a student myself, with many things yet to learn. I felt that I needed to become a true art student. I decided to study in Germany. The day I left the city where I had long lived, many of my students appeared on the platform to see me off.
Life as a student in Germany was a happy time. I originally intended to go to London, but for economic reasons chose a tuition-free, and, fortunately, academism-free German school. Personal approaches coexisted with conceptual ones, and students tried out a wide range of modes of expression. Technically speaking, we were all students, but each of us brought a creator’s spirit to the fore. The strong wills and opinions of the local students, though, were well in place before they became artists thanks to the German system of early education. As a reticent foreign student from a far-off land, I must have seemed like a mute child. I decided that I would try to make myself understood not through words, but through having people look at my pictures. When winter came and leaden clouds filled the skies, I found myself slipping back to the winters of my childhood. Forgoing attempts to speak in an unknown language, I redoubled my efforts to express myself through visions of my private world. Thinking rather than talking, then illustrating this thought process in drawings and, finally, realizing it in a painting. Instead of defeating you in an argument, I wanted to invite you inside me. Here I was, in a most unexpected place, rediscovering a value that I thought I had lost—I felt that I had finally gained the ability to learn and think, that I had become a student in the truest sense of the word.
But I still wasn’t your typical honors student. My paintings clearly didn’t look like contemporary art, and nobody would say my images fit in the context of European painting. They did, however, catch the gaze of dealers who, with their antennae out for young artists, saw my paintings as new objects that belonged less to the singular world of art and more to the realm of everyday life. Several were impressed by the freshness of my art, and before I knew it, I was invited to hold exhibitions in established galleries—a big step into a wider world.
The six years that I spent in Germany after completing my studies and before returning to Japan were golden days, both for me and my work. Every day and every night, I worked tirelessly to fix onto canvas all the visions that welled up in my head. My living space/studio was in a dreary, concrete former factory building on the outskirts of Cologne. It was the center of my world. Late at night, my surroundings were enveloped in darkness, but my studio was brightly lit. The songs of folk poets flowed out of my speakers. In that place, standing in front of the canvas sometimes felt like traveling on a solitary voyage in outer space—a lonely little spacecraft floating in the darkness of the void. My spaceship could go anywhere in this fantasy while I was painting, even to the edge of the universe.
Suddenly one day, I was flung outside—my spaceship was to be scrapped. My little vehicle turned back into an old concrete building, one that was slated for destruction because it was falling apart. Having lost the spaceship that had accompanied me on my lonely travels, and lacking the energy to look for a new studio, I immediately decided that I might as well go back to my homeland. It was painful and sad to leave the country where I had lived for twelve years and the handful of people I could call friends. But I had lost my ship. The only place I thought to land was my mother country, where long ago those teenagers had waved me goodbye and, in retrospect, whose letters to me while I was in Germany were a valuable source of fuel.
After my long space flight, I returned to Japan with the strange sense of having made a full orbit around the planet. The new studio was a little warehouse on the outskirts of Tokyo, in an area dotted with rice fields and small factories. When the wind blew, swirls of dust slipped in through the cracks, and water leaked down the walls in heavy rains. In my dilapidated warehouse, only one sheet of corrugated metal separated me from the summer heat and winter cold. Despite the funky environment, I was somehow able to keep in midnight contact with the cosmos—the beings I had drawn and painted in Germany began to mature. The emotional quality of the earlier work gave way to a new sense of composure. I worked at refining the former impulsiveness of the drawings and the monochromatic, almost reverent, backgrounds of the paintings. In my pursuit of fresh imagery, I switched from idle experimentation to a more workmanlike approach towards capturing what I saw beyond the canvas.
Children and animals—what simple motifs! Appearing on neat canvases or in ephemeral drawings, these figures are easy on the viewers’ eyes. Occasionally, they shake off my intentions and leap to the feet of their audience, never to return. Because my motifs are accessible, they are often only understood on a superficial level. Sometimes art that results from a long process of development receives only shallow general acceptance, and those who should be interpreting it fail to do so, either through a lack of knowledge or insufficient powers of expression. Take, for example, the music of a specific era. People who lived during this era will naturally appreciate the music that was then popular. Few of these listeners, however, will know, let alone value, the music produced by minor labels, by introspective musicians working under the radar, because it’s music that’s made in answer to an individual’s desire, not the desires of the times. In this way, people who say that “Nara loves rock,” or “Nara loves punk” should see my album collection. Of four thousand records there are probably fewer than fifty punk albums. I do have a lot of 60s and 70s rock and roll, but most of my music is from little labels that never saw commercial success—traditional roots music by black musicians and white musicians, and contemplative folk. The spirit of any era gives birth to trends and fashions as well as their opposite: countless introspective individual worlds. A simultaneous embrace of both has cultivated my sensibility and way of thinking. My artwork is merely the tip of the iceberg that is my self. But if you analyzed the DNA from this tip, you would probably discover a new way of looking at my art. My viewers become a true audience when they take what I’ve made and make it their own. That’s the moment the works gain their freedom, even from their maker.
After contemplative folk singers taught me about deep empathy, the punk rockers schooled me in explosive expression.
I was born on this star, and I’m still breathing. Since childhood, I’ve been a jumble of things learned and experienced and memories that can’t be forgotten. Their involuntary locomotion is my inspiration. I don’t express in words the contents of my work. I’ll only tell you my history. The countless stories living inside my work would become mere fabrications the moment I put them into words. Instead, I use my pencil to turn them into pictures. Standing before the dark abyss, here’s hoping my spaceship launches safely tonight….
同時也有2部Youtube影片,追蹤數超過38萬的網紅CH Music Channel,也在其Youtube影片中提到,《春はゆく/ marie》 marie 作詞:aimerrhythm 作曲:横山裕章 編曲:玉井健二、百田留衣 歌:Aimer 翻譯:澄野(CH Music Channel) 意譯:CH(CH Music Channel) English Translation: LyricalJourneys ...
whose child is this lyrics 在 CH Music Channel Youtube 的最佳解答
《春はゆく/ marie》
marie
作詞:aimerrhythm
作曲:横山裕章
編曲:玉井健二、百田留衣
歌:Aimer
翻譯:澄野(CH Music Channel)
意譯:CH(CH Music Channel)
English Translation: LyricalJourneys
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背景 / Background - シソ3日目西A-36a - オーケストラガールズ :
https://www.pixiv.net/artworks/72235617
中文翻譯 / Chinese Translation :
https://home.gamer.com.tw/creationDetail.php?sn=4727092
英文翻譯 / English Translation :
https://lyricaljourneys.wordpress.com/2020/02/23/marie/
日文歌詞 / Japanese Lyrics :
毎夜 深紅の宴 泡沫に抱かれて
14の時にすぐに 迷子のまま
覚えのない言葉と 偽りの首飾りすら
壁の画の誰かの悲しみを語り出す
奪われることを恐れて 与えられること忘れて
終わりを告げていく美しい日々
10月の雨に打たれて 目を閉じた その時に
何を手に入れるのだろう? 教えてよ marie
毎夜 指輪の森で あの風に吹かれて
12の唄 紡いで 夢見ていた
縋る様に抱き合う 平然と狼狽ですら
壁の画のいつかの輝きを語り出す
麗しき天で結ばれ この地上で引き裂かれて
光を消していく 愛おしい日々
飾られた椅子に腰掛け 振り払うその腕に
何を手に入れるのだろう? 教えてよ marie
繋ぐために捨ててきた 境界を越えて
脱ぎ捨て去った白いドレスは 今も泣いてるの?
奪われることを恐れて 与えられること忘れて
終わりを告げていく美しい日々
10月の雨に打たれて 目を閉じた その時に
何を手に入れるのだろう? 教えてよ marie
中文歌詞 / Chinese Lyrics :
每夜,都被如泡沫般虛幻的深紅宴會環繞
一成十四歲,便與往昔告別如迷失般無助
就連不存在記憶中的種種交談話語,與虛偽的華麗墜飾
將一同講述起牆上繪畫中,曾幾何時某人的悲傷過往
畏懼失去所有一切、也忘卻自他人獲取的喜悅
被宣告終結的美好時日也早已逝去
在那十月的雨水曾放肆吹打、妳闔上眼眸之時
妳又領悟並習得了什麼呢?請妳告訴我吧瑪麗
每夜,伴隨吹徐而來的陣陣微風,在樹林的環繞下進入夢鄉
在如此沉靜的夢中,悄悄瞥見前人編寫的12首詩歌
就連過往的平淡無奇與狼狽,也能如相互扶持般擁抱
一同談起牆上繪畫中曾幾何時的光芒與榮耀
在絢麗的蒼穹下嫁入,但卻在這片土地迎來碎裂般的結尾
那段漸滅的輝煌,是曾令眾人思慕的日子
當妳倚在華麗的座椅上,優雅地揮著手、拍打著整理袖口
妳在那段時光中獲得了什麼呢?請妳和我說說吧瑪麗
穿越那為攀附而離去的國界
即使早已脫下並丟棄象徵離去的白洋裝,現在,妳還會哭泣嗎?
畏懼失去所有一切、也忘卻自他人獲取的喜悅
被宣告終結的美好時日也早已逝去
在那十月的雨水曾放肆吹打、妳闔上眼眸之時
妳又領悟並習得了什麼呢?請妳告訴我吧瑪麗
英文歌詞 / English Lyrics :
Every night, the banquet in crimson
as if enclosed in a water bubble
Soon as she turned fourteen
still as a lost child
Words not remembered and
even the fake necklace
I’m conveying someone’s sadness
whose painting hung on the wall
Fear for what was taken
Forget about the things given
I will tell of the beautiful days of the end
Drenched by the rain in October
The time when you finally closed your eyes
What have you actually achieved?
Please tell me, Marie
In the ring-shaped forest
while being blown by the wind
Spin the twelve songs
and saw a dream
To embrace as if clinging onto something
Even as for the calmness and confusion
I’m conveying the brilliance of the time
depicted by the picture on the wall
To be tied to a beautiful point
to be torn up of the ground
Lovely days where lights will be gone
Sitting on the decorated chair
shaking off that arm
What have you actually achieved?
Please tell me, Marie
Abandoned to connect
overcoming boundaries
The white dress being cast off
is still crying now
Fear for what was taken
Forget about the things given
I will tell of the beautiful days of the end
Drenched by the rain in October
The time when you finally closed your eyes
What have you actually achieved?
Please tell me, Marie
whose child is this lyrics 在 渡辺レベッカ ☆ Rebecca Butler Watanabe Youtube 的最佳解答
Yosui Inoue / Shonen Jidai ("Boyhood")
Music/Lyrics: Yosui Inoue, Natsumi Hirai
Released 1990
Yosui Inoue is a well-known Japanese folk singer and this is probably his most famous song.
I was going to sing this outside, but various things prevented me from doing that today, so I went ahead and took in inside.
The song describes summer memories from the singer's childhood. These are quite different from what an American child experiences, but I can imagine a Japanese summer through this song. According to the singer, this song can be interpreted in many ways, so I translated it using my own interpretation. Enjoy!
今日は井上陽水の「少年時代」を歌ってみました♪
外で撮ろうと思ったんですが、事情により無理でした(^^;)
アメリカ人が経験する幼い頃の夏の思い出とはかなり違いますが、素敵な曲なのでカバーしました。井上陽水さんによると、色んな解釈ができる曲だそうですが、自分の解釈で英訳をつけてみました。Enjoy!
■お花のループ動画/Flower loop video by:
https://www.youtube.com/channel/UCWpsozCMdAnfI16rZHQ9XDg
~♪~♪~♪~♪~♪~♪~
渡辺レベッカHP
http://BlueEyedUtaUtai.jimdo.com
~♪~♪~♪~♪~♪~♪~
English Translation
As summer goes by, oh, thistle in the breeze
Whose longing lets you linger?
Left behind in the blue sky
My heart takes on a pattern of summer
I awake from a dream in the night
The long winter closes the window
And calls out to me
Dreams are but a consequence of memory
At a summer festival, the evening bonfire
Burns in time with my beating heart
August brings fireworks sparkling like a dream
My heart takes on a pattern of summer
I awake at the end of a dream
And a long shadow reaches into the night
Toward the stardust sky
Dreams are but a consequence of memory
As summer goes by, oh, thistle in the breeze
Whose longing lets you linger?
August brings fireworks sparkling like a dream
My heart takes on a pattern of summer