A Mutual Sympathy Rooted in a Spirit of Rebellion and Passion for Craftsmanship

– First, Could you tell us about the relationship between the two of you?

Nozaka: She had already been attending my solo exhibitions, and we got to know each other through a mutual friend about 10 years ago. When she moved to Tokyo from Osaka with a strong desire to improve her skills and pursue her craft, I wanted to support her as much as I could, including offering technical guidance. Over the past few years, she has become quite successful (laughs), and I’ve even had the opportunity to create graphics for her original brand, D.Y.E. I think our connection has deepened even more through our shared passion for craftsmanship.

YUKI: I first heard about Nozaka-san from an older skater during my middle school days. I was familiar with him from afar, as he was a prominent skater at the time and also worked as a tattoo artist. My senior told me that everyone was getting their tattoos done by Nozaka-san and insisted that I should definitely visit him if I ever moved to Tokyo.

– We saw an interview with both of you in another media, and we noticed that you share a common experience of both reaching a turning point in San Francisco in the past. Do you feel any sense of connection with each other because of this?

Nozaka: I think it’s the fact that we both pour our entire energy into what we want to do. Although dyeing and painting are different mediums, the techniques we use were built by those who came before us. We both have a deep understanding of these traditions while pursuing our own unique worldviews.

For example, in my current exhibition, depicting skateboarding using traditional Japanese techniques is something only I, living in this era, can do. I hope that YUKI will continue to pursue her own unique form of expression in the same way.

YUKI: For me, it’s also about the passion for creating. From Nozaka-san, I learned the importance of “never doing things out of habit” and “persisting until you reach the point where you feel it’s truly complete.”

Nozaka: Oh yeah?

– It seems that Nozaka-san himself isn’t quite getting it (laughs).

Nozaka: As a result, I ended up working on my pieces until the morning of the opening day, and I continued setting up right until the last minute, which caused some trouble… But, you know, the things we say to others are often words our ancestors from above are telling us to remind ourselves. So, from now on, I’ll do my best to stick to deadlines as much as possible!

Everyone: (laughs)

– YUKI-san, we understand that you originally liked punk rock and later became interested in hippie culture after discovering the Grateful Dead. The Ukiyo-e artist Kyōsai Kawanabe, whom Nozaka-san mentioned as an influence, also left behind many caricatures and satirical works. In a way, we feel there’s a shared spirit of “rebellion” between you two.

YUKI: That’s true.

Nozaka: Now that you mention it, I think so too. Even skateboarding, in the end, is about not conforming to society’s rules, and finding a way to carve out your own world from there.

– Maintaining your style without being influenced by others. We thought that at the core of this might be a rebellious spirit.

Nozaka: I’m not entirely sure. When it comes to style as part of one’s artistic approach, the moment you stop, it starts to fade away. Instead, when you live consistently and authentically, everything you create from the depths of your being naturally becomes part of your work. If you want to call that a rebellious spirit, then perhaps it is.

YUKI: I agree. In my case, I don’t even have the luxury to think about style; I’m just constantly working with my hands.

—What kind of presence does Nozaka-san have for you, YUKI-san?

YUKI: Nozaka-san has always been a “hero” to me, both in the past and now. Even though it’s been about ten years since we first met, I still receive innovative and fresh ideas from him, as well as advice on various forms of expression and the creative process that I wouldn’t have come up with on my own. I feel that if I hadn’t met Nosaka-san, I wouldn’t be who I am today.

— Conversely, how do you view YUKI-san?

Nozaka: First of all, I think her eagerness to learn is commendable. As you age, there inevitably comes a time when sticking to your own methods leads to a dead end. I advised her to study and explore various approaches early on to prepare for this, and she was already taking action the very next week. Even if it doesn’t bear fruit immediately, she understands that learning is an investment in her future. Additionally, her commitment to pursuing her own world in her craft is something I deeply resonate with, and I believe she will continue to achieve great things.

YUKI: (humbly) No, no. I’ll keep working hard!

A Peaceful Message Embedded in the Lineage of Expression.

— Now, let’s talk about each of the exhibitions. Can we start with Nozaka-san? The “Yoko-nori Giga Exhibition” currently being held at B GALLERY on the 5th floor of BEAMS JAPAN (Shinjuku) features approximately 20 works, mainly focusing on the latest pieces from the “Yoko-nori Giga” series, which depicts familiar creatures enjoying activities like skateboarding and surfing. Could you explain what the “Yoko-nori Giga”series is all about?

Nozaka: The concept of caricature (giga) itself isn’t something original to me. It’s something that has been depicted by the masters, such as Kyōsai Kawanabe who has influenced me the most, his childhood mentor Kuniyoshi Utagawa, and the earlier generation of Hokusai Katsushika. If you go even further back in time, there’s the famous “Chōjū-Giga” from the late 12th century at Kōzan-ji Temple in Kyoto, which anthropomorphizes frogs and rabbits.

—That’s the one where frogs and rabbits walk on two legs and wrestle like humans, right? So, “Yoko-nori Giga” are also part of this long-standing tradition of expression passed down by those masters.

Nozaka: Yes, exactly. If I can, I want to carry on the techniques, methods, and spirit of the master artists before me, especially those known as machi-eshi (town painters). My goal is to revive their worldview in the modern era and share it with the world. I believe this is something that can benefit society.

— I see. So for this exhibition, you chose various animals like frogs, mice, squirrels, and cats as your motifs.

Nozaka: For example, Hokusai often drew mice, Kuniyoshi was known for his cats, and Kyōsai frequently depicted frogs. I aspire to have a motif that people will associate with me, like “when you think of Toshikazu, you think of ____.” However, I’m still far from reaching their level, both technically and artistically. But as I continue to push myself, there are moments when ideas just start to flow down from above. Like, “Oh, wouldn’t it be cool if a toad did a still fish grab in mid-air?” And that’s how I ended up creating the pieces in this exhibition, drawing each of those ideas as they came to me.

—The lively scenes of the animals interacting are also incredibly funny.

Nozaka: To be honest, I’d like to create more satirical or rebellious pieces. But the audience isn’t always ready to handle that. Japan as a whole isn’t very spirited right now, you know? From my perspective, something I intend as humor can be taken the wrong way if the audience’s mindset isn’t in a good place. That’s the trend in society today, I think.

—There’s definitely a challenge in establishing an unspoken understanding with others.

Nozaka: Exactly. So, the priority is to help people regain a sense of peace. For that, I think it’s important to create art that allows them to relax and have a little chuckle.

—So that’s why you chose the style of caricature.

Nozaka: Yes, and for this exhibition in particular, there’s also a theme of liberation and elevating the status of familiar animals—or rather, all living beings. In today’s world, humans reign supreme as the top of the biological hierarchy, often disregarding other living creatures. But I believe that’s wrong. Ultimately, my work expresses a desire for a world where all living beings can become friends.

—It’s clear that your work carries a very peaceful message.

Nozaka: Despite everything, I am a pacifist at heart (laughs).

—Among the animals, the squirrel seems to hold special significance, as it’s also featured on the T-shirts created for this exhibition. Is the squirrel particularly important to you?

Nozaka: Over the past three years, I’ve been going through a squirrel craze.

Squirrel T-shirt (White) ¥7,480

—A squirrel craze!? What triggered it?

Nozaka: I had long wanted to meet a squirrel, but they’re not just hanging around, and getting one from a pet shop didn’t feel right either. I thought I’d rather move to where wild squirrels live and build a coexistence with them. Then, I received a message from my family in my hometown of Niseko, Hokkaido, saying, “Squirrels have started coming to the walnut tree in the garden.” I was like, “Wait, really?” (laughs).

—So it was an unexpected opportunity that came along (laughs).

Nozaka: I went back home in the fall, when squirrels are most active, and sure enough, there were squirrels. Watching them all day, I saw them stuff their cheeks with walnuts and acorns and carry them to another squirrel. I was deeply moved by this scene and thought, “This is the world of squirrels.” That experience inspired the works in this exhibition.

Nozaka: For example, when I was thinking about squirrels constantly, the idea of “three squirrels in a triangle (mitsu-domoe)” popped into my head, and I ended up depicting a scene where three squirrels are having a festival with the food they’ve gathered. This isn’t a triangle (mitsu-domoe) but a “squirrel festival (risu-domoe)” (laughs).

—This time, not only are you showcasing original paintings and giclée prints, but also original ceramics created with the cooperation of the ceramic craft manufacturer Chugai Ceramic in Seto City, Aichi Prefecture. The motif is a skateboard-shaped dish plate, which was also featured on the T-shirt print. It’s really cute.

Dish Plate ¥38,500
*Available by special order only

Nozaka: As a child, I used to admire the samples of kids’ meals displayed in restaurant windows, wondering what it would be like to eat them and dreaming of trying them someday. Then, in my late teens, I thought, “I should just make them myself,” but 30 years passed. When I finally suggested it to BEAMS this time, it actually came to fruition. I’m thrilled and looking forward to using them.

—The Chusen-dyed tenugui (Japanese towels) also features graphics created specifically for this exhibition.

Tenugui ¥2,200

Nozaka: To be honest, the production time was incredibly tight. With deadlines looming, I thought about what I wanted to draw, and decided to create something that would make use of the long, narrow shape of the tenugui. I thought, “I’ve never seen a tenugui with a skull on a skateboard, so that might be interesting.” I figured my skateboarder friends would probably enjoy it as well.

—It sounds like it was a last-minute challenge. No wonder the design has such a sense of speed.

Nozaka: It’s always down to the wire (laughs). But despite that, I’m happy with how the dyeing turned out. The balance between the white and the base color was achieved in one go, which I’m pleased with.

Thoughtfully Calculated Tie-Dye That Highlights Each Graphic

—Next, we’d like to hear from YUKI-san, who is currently hosting a pop-up event at TOKYO CULTUART by BEAMS on the 4th floor of BEAMS Japan (Shinjuku). First, could you tell us what sets your tie-dye style apart from others?

YUKI: Tie-dye is often associated with hippie culture, but I aim to balance this stereotype by focusing on unique color combinations and designs. We talked about rebellious spirits earlier, but I’m a fan of punk rock and have recently started using bleach and dye techniques inspired by anarchist shirts. I was really pleased when my seniors commented that my individuality was starting to come through in my creations.

—Are there many tie-dye artisans in Japan?

YUKI: Given that hippie culture originated in America, there are relatively few tie-dye creators and enthusiasts in Japan. Nowadays, with computers capable of creating anything, machines can produce identical tie-dye patterns.

However, when dyeing each piece by hand, whether using natural or synthetic dyes, understanding the dyeing process and how different tying techniques create different patterns is crucial for achieving the desired expression. It took me a long time to grasp this, and I’m still learning every day. The process requires a lot of tools and has many complex elements, making it a challenging genre to approach.

—When you receive a dyeing commission, does the client decide on the design?

YUKI: In my case, most of the offers come from brands I know. For example, if the brand is run by a skater, I might suggest designs like, “Wouldn’t it be cool to have items dyed in these colors and this style for skating?” In such cases, I often propose the design myself. I can also add effects like cracking the print more dramatically by dyeing after printing.

—As someone who makes a living from tie-dye, what moments excite you the most?

YUKI: In the past, I would often be thrilled by unexpected results when unfolding the fabric. Nowadays, I can usually predict how the final product will turn out even before I start dyeing. So, the moment I get the completed pieces lined up and see the finished result is particularly satisfying. Additionally, when collaborating with brands and dyeing hundreds of pieces, I’m always pleased when the colors remain consistent from the first to the last piece.

—For this pop-up event, you’ll be showcasing and selling vintage T-shirts that you dyed yourself. Where did you source these items?

YUKI: Initially, I planned to go to Thailand, but I also extended my trip to neighboring Vietnam. The entire journey lasted about two weeks. I found that vintage clothing is often cheaper and more abundant in markets located a bit outside the capital cities, so I focused on those areas for sourcing.

—It sounds like you have quite a few pieces.

YUKI: I picked up around 50 shirts, but after removing those with significant damage or holes, I expect to have about 40 shirts available for sale at the pop-up.

—Why did you choose to use vintage clothing as your base?

YUKI: I often come across vintage clothing with intricate silk screen prints that I could never replicate myself. What I love most is that each piece is unique in both design and condition. Working with these one-of-a-kind items challenges me to think creatively about how to apply dye. Even damaged pieces can be revitalized through the dyeing process, adding a touch of magic to them.

ーCan you tell us about your approach to dyeing the items for this pop-up?

YUKI: Normally, when I have 50 pieces, I dye them all using the same pattern. But this time, I wanted to highlight each graphic, so I carefully calculated the dyeing process for each individual piece.

– Does the condition of the fabric affect how you approach the dyeing process?

YUKI: When the fabric is fully soaked, the dye creates a more solid color, while applying it to a partially dried fabric gives a softer, more rounded effect. The amount of water in the fabric greatly influences how the dye spreads. This also applies to prints—inkjet and silk screen prints behave differently, and within inkjet prints, those without a white underbase are more likely to absorb the dye into the printed areas.

—I see. And this time, you’re also releasing collaboration items with Nozaka-san.

T-Shirts ¥8,800

YUKI: For this piece, I had Nozaka-san draw a butterfly, and then I applied dye over the print. To be honest, I don’t quite remember why I chose the butterfly as the motif (laughs). Since I have a tattoo of flowers and birds on my arm, I think I suggested the butterfly in a similar vein, like, “Wouldn’t a butterfly be cute?”

—This isn’t vintage, but rather a fitted shirt, specifically for the collaboration.

YUKI: Butterflies aren’t typically associated with men’s fashion, so I thought, why not go for a silhouette that girls would want to wear? That’s why I chose it. That said, I’ve seen guys pull off these tighter shirts in a stylish way lately, so I’d love for men to try it too!

Long Sleeve T-Shirt ¥9,350
This piece combines Nozaka-san’s “Risu-domoe” graphic with YUKI’s dyeing technique—a must-see item.
Photo_Takayuki Saito

—The space has a very pop and kitschy vibe, and it seems like it could attract a different crowd than before.

YUKI: In my usual pop-up events, most visitors come with a specific purpose, but BEAMS JAPAN (Shinjuku) is in a location that’s accessible to everyone, so I’m really excited to see who shows up. I’d love for a lot of international visitors to stop by and check it out too!

The pop-up event venue.
Photo_Takayuki Saito