Interview with TAKU: Fusion between visual art and Japanese culture

Interview avec TAKU : Fusion entre Art visuel et culture Japonaise

Interview with the visual artist known under the pseudonym TAKU . For almost five years, he has been expressing himself through his visuals in the artistic field and it has now been two years since he made this passion his full-time profession. His deep inspiration is Japanese culture, which stimulated his desire to create. He works mainly in the music industry, making covers for physical formats (CDs) of various artists.

In addition, he develops his unique universe through his personal works, largely inspired by nostalgia and his immediate environment.

So, how did a enthusiast of Japanese culture manage to design CD cover visuals while developing his own artistic universe?

Today, TAKU gives us the privilege of sharing his journey, his experiences and his vision of visual art.

Why is Japanese culture and how does this influence manifest in your work?

Because it is a culture that has accompanied me throughout my life, through animated films, animated films, etc... It is also there that I found graphic codes that correspond to me really, for me it’s really a goal to export myself there because my art is so connected to this culture.

I spend most of my time looking at the work of illustrators/designers from Asian countries and that's the closest thing to what I do, where I don't necessarily identify with what is being done in France or even in Europe.

Do you have a significant anecdote or experience from your early years as a visual artist to share with us?

I have one that comes up quite often, when I usually discuss my work. I have a rather atypical background, I only spent 6 months in art school because it didn't fit at all with my vision of art and I had the impression that my creativity and what could make me unique through my work.

I asked my parents to take a gap year where I would concentrate on my art, at the beginning it really wasn't easy but I committed to managing myself alone and without finding a job other than in the 'Visual art. At the beginning for all those close to me it was unthinkable and I had no clients so nothing was certain. However, my determination paid off and it is the best choice I have made so far.

What were the major challenges you encountered during your transition to being a full-time artist?

I think it was really about finding clients, at the beginning it's really hard to get a decent salary even if you work a lot. And it's also a very difficult and anxiety-provoking job, we're often alone and locked up at home to create and it's also very hard to know how to take breaks, I think it took me more than a year to tell myself that I had the right to my first weekend.

How did you manage to find your place in the music industry, and what do you like about creating CD covers?

By canvassing a lot at the beginning and afterwards it's a network that is created automatically as soon as we work with an artist who recommends us to one of these friends, etc. so a lot of word-of-mouth/com on the networks while being quite regular.

What I like most is the interpretation in relation to the emotion that I will feel musically and it was logical for me, because I am incapable of creating without listening to music so it's something that I know how to do it and it's quite easy for me.

What collaborations or challenges have allowed you to evolve in your art?

I would say the one with Sokuu for "Moon cries" because it's my first physical object and he's the first artist who believed in me to do this kind of thing that I really wanted to do but no one told me. It gave me the opportunity before, since then I haven't stopped and I hope to be recognized worldwide for my formats. Working around a CD is also one of my biggest passions. I spend my days dyking in lots of different countries, it's super interesting and I think we need to raise this topic in France.

In what way do you integrate what surrounds you into your works?

I often integrate this via moods and it can be noticed on my Insta feed, there are periods of my life where it was quite dark and it was a connection to my personal life, where today everything is clearer and you can feel it.

Can you give us a specific example of the impact of nostalgia on your art?

I think that without nostalgia I wouldn't make art, it's really this feeling that awakens my creativity. Often I will draw on moods that I felt before, through my childhood, video games that I played before, etc. I think it's something I need to take refuge in so as not to lose my childish soul.

What is your vision of art for the years to come? Do you think AI is an enemy or a new tool for artists?

I think that art will still be doing just as well and that it will allow us to explore a lot of things thanks to new technologies, which are advancing at breakneck speed. Also the craftsmanship which remains timeless and I think there is no risk of it being lost. As for AI, I think it's a good tool and a time saver rather than an enemy or a constraint to the profession. You have to know how to use it on your own rather than thinking that it can help us. replace, we will never have the soul and creative intention of a human otherwise.

Written by Yeazzy.

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