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Hello I Love You DAISUKE ICHIBA  home

Greetings.
Today, we would like to introduce one of the finest young artist in Japan, Daisuke Ichiba.

Born in 1963, Ichiba has been creating enormous amount of drawings, self-published those in booklets.
 His work is sold in specialized places, and he has gained many enthusiastic fans here in Japan.


As you might know, the Japanese manga and animation culture has been well known outside of the country these days.
That, so-called "Otaku" culture, has also influenced lots of Japanese young artists as well.
 Ichiba, with no exception, is one of those who grew up in the golden age of Manga era,
and you can see in some of his artistic expressions as the manga style that he watched in his childhood.


His art shouldn't be seen on the wall, one by one. 
The way we should see his work is to see it as a flow of drawings from a booklet.
 A mutation of manga, that is. However, each drawing has the strongest lines that overwhelm its audience, and those lines came from his strong passions.
I would say that his artistic expression is genuinely original from that point of view, beyond that techniques or skills of expression are concerned.


The world of Ichiba's art comes from the cultural climate of this present Japan, without a doubt.
 However, that unique expression of Ichiba's work has been reached at the world class level, as we consider,
by the strength of his spiritual energy and the trained technique.




Daisuke Ichiba 

At the age of 4-5, he made little comic books held together with staples. 
Then, during primary school, he drew parodies of popular comics, depicting his weaker classmates humiliated and mistreated. 
Passed around the class, the comics earned him respect and attention, which he kept seeking by forming a funk band in high school, giving up on drawing. 
More than the music itself, he admits, he enjoyed being on stage and performing in front of an audience. 
As the other band members' schedule made it impossible to rehearse together, they inevitably split up,
and Ichiba starts looking for an activity that requires no one's intervention but his own.

So he goes back to drawing manga for practical, rather than aesthetic, reasons. 
This is one of the many ways for him to let out an arcane part of himself that he strives to express by any means: 
a mix of personal obsessions and views on society, lucid reflections and distractions. 
Women almost always play the leading part, a fixation linked to Ichiba's loss of his mother at the age of 8.

Influenced by George Akiyama and DADAISM, Ichiba's style blends Indian ink, collage, fine-spun volutes and furious brushing in willfully abstruse stories. 
From the world-ruling mutant frog to the one-armed girl singing for the pleasure of demons who squash the dead in hell's Pond of Blood, 
Ichiba's world sprawls in more than 20 graphic novels and art books (the borderline between the two is often pretty thin)
where a very peculiar sense of humor emerges out of striking images of madness, pain and sex.

The reader is horsed around from nightmarish scenes to absurd dialogues, 
and when the story doesn't end in a rather clichéd seppuku (which Ichiba completely assumes), 
when a page depicting the end of times isn't all smeared up in lazy brushes of ink, 
books end in a disarmingly obscure fashion discouraging any attempt of analysis and literal interpretations. 
The story obeys a graphic logic as much as a narrative logic.
"The organic motives and patterns of characters [kanji] I draw may render my works disturbing
but usually they just start off as lines drawn without much afterthought in empty spaces of a page,
like writing exercises, and then they turn into motives without me noticing. However dispensable those may be, 
sometimes I feel they play a very important part in the story. I tend to be extremely attracted to what's useless or incomprehensible".

Mizue Ezumi, the only recurring character in Ichiba's works, first appeared in 1997. He sees her as his alter ego, his mother, his daughter. 
A patch on her left eye hides a repugnant deformity symbolizing mankind's inevitably tainted heart. 
"It's like crap, whether we like it or not there's something rotten inside us. In this world beautiful landscapes coexist with scenes of awful violence. 
Of course those are sick and evil, but that doesn't mean we must separate them from the rest and not show them. 
Whenever I tend to come close to Beauty I'm overcome by an irresistible urge to bring in the page grotesque elements and meaningless things to restore balance.
I strive to draw with a right balance between dispassion and subjectivity, 
but when one looks at the finished work it seems people notice the grotesque facet above all and lose sight of my original intention."

(Aurélien Estager) Text © 2007 Sonore


"interview 2011" (ITALY:Alila mag, a online magazine)

1-What do you like most about Asia?
    *The food. And, the life on the floor as on the tatami-mat.

2-Is your actual job the one you dreamed about when you were a child?
    *No. I'd never dreamed about any job.

3-Do the things you create usually turn out the way you expect them to in the beginning?
    *Usually I roughcast first. And then my brush create its own lines automatically. I'm there to navigate.

4-Where does the inspiration for your illustrations come from?
    *From my brain which possesses the histories woven by mankind from all-time. I only help slowly with my hands, having nothing in my mind.
 
5-Who are your favourite artists?
    *I don't have one but I was inspired a lot by the mind of Dadaism (yet the works aren't especially intriguing, to be honest).

6-What are you working on at the moment? What are you enjoying most about it?
    *I'm working on my next exhibition in Shibuya, Tokyo in July. Drawing for me it's not something enjoyable.It's exactly like breathing or eating.

7-What is the achievement you are most proud of?
    *The next thing starts immediately after you achieved something. So I don't know what the state of "achievement" is.

8-What is your next step?
    *There is no next step. I am just honest to be myself and draw, draw and draw...

9-What do you think makes you special?
    *Is myself special? (laugh)

10-Do you have a favourite item of clothing? Can you tell us something curious about it?
    *I like flip-flaps or Japanese sandals. I like to go barefoot. I always wish that all the streets were covered with lawn!
(2011)



"Daisuke Ichiba, the genuinly unique and creative artist"
by Humuhiko Hoso( an art critic)

■Being Genuinly Unique and Creative

Say, you met a movie or a song, liked it very much, and at the same time
people around you also like it, then there is a big chance of possibility
that we are not talking about something that is genuinly unique and
original. In other words, we cannot get to like or to understand something
when there is no standard of evaluation and no room for acceptance. However,
if the novelty is spurb and excellent, it leads itself to making the soil to
be accepted. To put it concrete, our sensitivity and ability to think needs
some time to grow.
 Movies and music, that show up in front of us all of sudden and get
evaluated and consumed in very short time, are the very same as sodas and
roller coasters. They only give you an instant pleasure and humbly stimulate
the worn out sensitivity. It's a game with a safety warranty that the youth
enjoy and consume.
Nobody wants genuineness, because we need a good amount of time and
strength to face it and need to carry the risk that you might get hurt when
you cannot be unrelated with it. Even so, Ichiba keeps on spawning his
creations for you, who still want to believe that there are genuinely unique
and original lurking in somewhere in this world.

■The Genre Called "Daisuke Ichiba"

Daisuke Ichiba is genuine. There is a concrete reason for it. He has an
artisticly intrinsic necessity in his productivity. Therefore, he has the
freedom in his expressions, not to be tied up by any external factors and
not to be caught by any existing genre. Each of his works is like an
illustration, like a manga(a comic), like a poem, like a tanka, or like an
essay. He also is a musician and calls himself "Bijin-gaka( a beauty
painter)". With a glance, you might get an intense impression on his work.
You might not be able to find a way to react to it. There is no way for his
works to be merchandise since they cannot be in any category. But so what?!
All we
have to do is to receive and accept the genre called "Daisuke Ichiba".
If you look at his works with being particular about preconceived forms of
art, what you might see would be an nosesical indecency. From the viewpoint
of Ichiba's artistic necessity, however, any of the lines, words, and
materials in his works are composed with the very elaboration and accuracy.
And thats what we call art! It is important to keep the first strong
impression that you feel from his works in any ways. Do not try to
comprehend them but get yourself to be trifled with Ichiba's technique as an
artist and get moved. Your attitude to the reality should be changed alittle
when you close his work because Ichiba illuminates the reality on his works,
in the way that nobody has ever tried.
His work certainly nails down the essence of things. Thats the reason why
his work gives a very strong impression on its audience's mind, no matter
how it looks on the surface.

■Happiness in the Consistency of "Themes" and "Lines"

An illustrated story has a story first, then there are pictures along the
story so that they can help your imagination expand and get into the world
of the work.
A comic, as well, has the system of that uniqueness of frame arrangement,
balloons and combination of stage directions make the flow of the story. The
author and the audience have that procedure in common tacitly -(in fact, it
is hard for one who usually dont read comics to catch up with a story in a
comic.)
At that point, you might get a little lost to find a way to enjoy his works
because what Ichiba focuses on as his art works is different from what comic
artists focus on. Ichiba represents to his audience what he wants to express
in the state-of-righ-before putting it in the comic genre. Its
like a winery man selling a bottle of imcompleted wine with a memo which
says a list of the necessary tools and ingredients for the completion. The
customer then can have much more vivid experience of wine than just tasting
it.
Though, Ichiba never stays only in the avant-garde styl but still moves on
and creates this peculiar world by the centripetal force that his own unique
drawing lines produce. If you want to find something like consitency in
stories, you might want to look at the strength of those "lines" with which
those words and drawings in his works are composed. Enjoying the "lines" in
his works is pretty much same as following a story in a book and a comic.
In Ichiba's works, there is a theme of "Beauty or Ugliness", which he
consider as "faces=flesh". Also you can see him being very particular about
lines and having the fetishism to printed materials in that he uses lots of
cut-ups and colleges monomaniacly. The thing is that all of those factors
overlap one another. It is rare that a theme and the expression accord in
comics. What it boils down to is that, in Ichiba's art, those
lines themselves tell a theme, not the figures or scenes that are drawn by
the unique lines.
Those lines drawn by Ichiba have the power of an appeal to us, sensuously
and physiologically. The female faces repeatedly drawn resounds like layers
of musical rythms(beats). And for the sentences that occupy many pages in
his works, we'd rather enjoy the combination of words and expression of
drawn letters than understand the content of sentenses.

■Exploring the Avant-Garde with a Pen

Ichiba' works has approached to comic expressions for some time now, but in
his most recent work, "Kohal", he uses a well-honed lines with perfect
freedom, brims over with images and emotions and creates the very own world.
In there, the fusion of humans and animals creates a mysterious and deeply
spiritual world. Im very certain that Ichiba has been and will be creating
his own unique works hereafter, absorbing every possible techniques and
styles. He won't lose the brilliance of his unique creativity as long as he
keeps on grabbing the real nature of things by smelling them out
acrobatically.
(1999)


私たちは、日本の優秀な若手アーティストのひとりである、市場大介をご紹介いた
します。これまで日本国内で活動を続けてきた市場のユニークな作品を、少しでも
多くの方々にも観ていただきたいと考えています。

市場大介は、日々描き連ねた膨大なドローイングを、冊子として自費出版する、
という独自な方法で作品を発表してきました。彼の冊子はごく限られ
たマニア向けのショップで販売され、一部に熱狂的なファンを獲得しています。

ご存じのように、今や日本を代表する文化として海外にも知られることの多い、日
本の「漫画」や「アニメ」、「おたく文化」は、日本の若手アーティストたちにも
深い影響を与えています。市場自身もまさに「漫画」の黄金時代を体験した世代で
あり、彼の作品のいくつかは彼の見てきた漫画の様式をなぞったかのような表現を
とっています。

市場の作品は、一枚一枚のドローイングを壁に掛けて観賞するというのではなく、
冊子として編集されたものを流れとして観賞する、という意味で、突然変異の「漫
画」という呼び方がふさわしいかもしれません。しかし、実際には、見るものを圧
倒する描線のすさまじさ、そしてそれを支える情念の濃さは、表現手法がどうこう
言うのを越えて、唯一無二の芸術表現として成立していると言えるでしょう。

市場の作品世界は、紛れもなく現代日本の風土に発生した特殊な表現でありながら
、作家の精神エネルギーの強さと鍛えられたテクニックによって、世界的なレベル
の芸術表現に達していると私たちは考えます。

是非、市場の作品を体験してください。

BADAJAPAN
(紹介文:Fmedim)

市場大介 ~真に個性的で創造的な作家~
文/FmEdim(美術評論家)

■真に個性的で創造的なもの

 もしあなたが自分の身近なところで、ある音楽や映画と出会ってとても気に入っ
て、同時にそれが友人の間でもとても評判がいいとしたら、それは「真に個性的で
創造的な」ものとは何の関係もない可能性が高い。つまり我々の中に、評価の基準
も受け入れるための枠組みもないものは、好きになりようもないし理解しようもな
い。しかし、その新しい作品が優れた本物であれば、作品が先導するかたちでその
作品を受け入れるための土壌が出来てくる。具体的に言えば、我々の感性と思考力
が成熟するための時間が必要なのだ。
 私たちの前に突然現れて短期間に評価されて消費されるような音楽や映画は、言
ってみれば手軽な快感を消費者に与える炭酸飲料水やジェットコースターと同類の
ものだ。散々使い古された感性をささやかに刺激するだけで、多くの若者たちはそ
れを享受し、消費する。それは安全が約束された一種のゲームだ。
 誰も本物など求めてはいない。本物と向かい合うには、それなりに時間も体力も
必要だし、自分が無関係でいられなくなって、傷つくかもしれないというリスクを
負わなければならない。
 それでもあなたが「真に個性的で創造的な」ものが、まだどこかに潜んでいるか
もしれないと信じているなら、『市場大介』はあなたのために作品を作り続けてい
るのだ。

■『市場大介』というジャンル

 『市場大介』は本物だ、そう言うには理由がある。彼には、作品制作にあたって
芸術家的な内的必然性がある。だから既成のジャンル分けにとらわれず、あらゆる
外的要因に拘束されない自由さが彼の表現にはある。市場の作品は、イラストのよ
うでもありマンガのようでもあり詩のようでもあり短歌のようでもありコラージュ
のようでもあり雑文やエッセーの様でもあり、自らは美人画家と称し音楽活動もす
る。一見して強烈な印象を受けるが、それをどう受けとめたらよいか解らない。ジ
ャンル分けできないから商品にはなりにくい、しかしそんなことはどうでもよいこ
とだ。『市場大介』というジャンルを我々が受けとめれば良いのだから。
 あなたがもし既成の形式にこだわって市場作品に接すれば、でたらめで猥雑で訳
がわからないものと思うだろう。しかし市場の作家的必然性という立場から言えば
、あらゆる線が文字が素材が非常に緻密に正確に構成されている、それはまさに芸
術というべきものだ。とにかく、初めて接したときの強烈な印象を大切にしよう。
そしてそれを理解しようとしないで、市場の作家としてのテクニックに翻弄されて
、感動しよう。作品を閉じたときに、あなたが現実と向き合う態度が少し変わって
いるはずだ。なぜなら市場作品は現実を、かつて誰も気がつかなかった方法で照ら
し出しているからだ。市場作品は確かにある本質を言い当てている。だから表面的
な方法がどうであろうと読者に強い印象を与えるのだ。

■テーマと描線の一致という幸福

 絵物語の様なものであれば、まず文章によるストーリーがあって、状況を説明す
る絵を観てイメージを膨らませながら読み進めることで、その作品の世界に入り込
む事が出来る。
 またマンガであれば、独自のコマ割とセリフ、卜書きなどの組み合わせでストー
リーの流れを作ることが一つのシステムになっており、作者も読者もまたその制作
の過程も暗黙のうちにそのルールを共有している。(実は読み慣れない人にとって
マンガはなかなか頭に入らない。また少女マンガを読み慣れない人にとってそれが
読みづらい、ということもある。)
 その点、市場の作品は普通のマンガなどと比べると、作品としての焦点の合わせ
方が異なるため、何を手がかりにして鑑賞したらよいのか戸惑うだろう。市場は自
らの表現しようとするものを、例えばマンガというジャンルに落とす一歩手前の状
態で読者に提供している。ワインづくりの職人が、ワインを作りかけでその原料や
道具や制作に必要な覚え書きのメモを、一セットにして客に売っているようなもの
だ。客はワインを味わうという経験を越えた、もっと生々しくリアルなワイン体験
を手にすることが出来るわけだ。
 とは言え、市場作品はそのような前衛手法に留まるものではなく、彼独特の「描
線」が求心力をもって独自の作品世界を作り上げている。市場作品に一貫したスト
ーリーらしきものを探すとすれば、それは、文字、絵、を表現する「描線」の力に
ある。「描線」を楽しむという行為が普通で言う小説やマンガを読むという行為と
等しい。

 市場作品では、「顔=肉」の美醜に関するテーマと、描線に対するこだわり、さら
には偏執的に多用されるカットアップ&コラージュ手法による印刷物に対するフェテ
ィシズムが、ぴったりと重なっている。マンガにおいても、テーマと表現手法が一
致するのは希なことだ。個性的な描線で表現された人物や風景がテーマを語ってい
るのではなく、描線そのものがテーマを語っているのだ。
 市場の描線は感覚的生理的に我々に訴える力がある。繰り返し描かれる女性の顔
も音楽のリズムの重なり合いのように響いてくる。また作品中の多くのページを占
める手書きの文章も、内容を理解すると言うよりは、単語の組み合わせや描き文字
の表現の面白さを楽しむべきだ。

■ペン一本で前衛を開拓する

 一時的にマンガ的な表現に接近した市場作品も、最新作「コハル」では、再び一
歩踏み込んで、ぎりぎりまでとぎすまされた線を自由自在に駆使して、あふれんば
かりのイメージと感情の世界を描き出している。そこには、人間と物とが融合した
、摩訶不思議で奥深い精神の世界が立ち現れている。市場は、なりふり構わず、あ
らゆる手法を吸収しながらこれからも作品を作り続けるだろうが、アクロバット的
に探り当てた本質をつかみとる手応えを失わない限り、その個性的で創造的な輝き
を失うことはないだろう。


inserted by FC2 system