Keita Miyazaki, Excess of Desire

Oct 30

Oct 30 Keita Miyazaki, Excess of Desire

(1/3) Initial Observations and Interpretation

At first glance, Miyazaki's pieces symbolise the theme of clash and disruption, which is ironic as the notion of conformity runs deep in Japanese blood (given Miyazaki’s Japanese heritage). Yet whilst the elements that make up the art pieces give the perception that they may have collided into one another, they have eventually contorted and wed into a befitting conformation. As one immediately sets foot into the Rathbone Street gallery where Miyazaki’s pieces are displayed, one will find a series of towers vertically mounted layer-by-layer with car exhausts and paper. These pieces seem to represent how even the most obvious opposite entities can find away to strike balance and stability. Moreso these pieces reflect Miyazaki’s Japanese background: metallic car parts deriving from Japan’s renowned automotive empire, and folded paper representing Japan’s everlasting connection to the delicate material. Despite their contrast in weight, colour and texture, the towers remain strong, solid and stable, perhaps demonstrating that in any unlikelihood of a match there remains a possible chance that the entities can still work hard together and survive - removing any possibility of a world where there exists a chalk-and-cheese phenomena. It could be said that this symbolises Japan’s unique anti-dilutive identity and survival against the backdrop of an increasingly inter-connected and diverse world.

As one makes their way downstairs the exhibition displays an assortment of floral pieces. Generally, they are made up of a brake disc as the root and stem and folded (mostly coloured) paper sprouting outwards in multiple directions to represent the cherry blossom flowers of Japan. Interestingly, the flowers did not follow the heliotropic model which is where the plant hormone auxin provides chemicals for plants and flowers to grow in the direction of sunshine. In fact, all the flowers were sprouting in multiple directions with different growth patterns, implying there is an individualistic struggle for each flower’s survival and every flower is trying to do things their own way (again, against the backset of Japanese conformity). On the flip side, it can demonstrate a sense of optimism and Japan’s yearn for entrepreneurship and sustainability - having a large group of entities move in different directions ensures the ultimate objective that the plant (Japan at its very core) has many opportunities to thrive and survive. If all move in unison, the chance of survival can reduce significantly.

(2/3) Renee Pfister - The Gallery Curator’s Observations and Interpretation

Ms Pfisters likens the towers to an Egyptian obelisk. Whilst Japan are not renowned for architecture that stands tall and in solitutde, these pieces break that stereotype and symbolise Japanese fortitude: they stand (out), yet preponderant and as a united front (even if not entirely made of the same material through-and-through). She also prepared a reading to accompany her interpretation of the pieces: poems from Charles Baudelaire’s Les Fleurs du mal (The Flowers of Evil). These appropriately fit these art works given the poems' topics reflect the changing beauty of nature in a rapid industrialising world. Japan’s beautiful landscape has adjusted and become accustomed to industrialisation in the face of globalisation and a competitive, capitalist economy in the 20th and 21st century; a blessing and a curse for the landscape and philosophy and economic models of Japan.

(3/3) Keith Miyazaki

Unfortunately, Mr Miyazaki was not present. His presence would have been helpful in communicating his exact thought-process and methodology on the creation of these pieces. Nonetheless, wider research details that Mr Miyazaki was born in Tokyo and came to London to pursue his art career in 2011. During this time, Japan was hit with a major tsunami resulting in catastrophic destruction and a unnerving number of fatalities. Past interviews suggest that his works, such as those in this gallery, are a response to this event - combining the tragedy of loss and symbolism for the future.

His choice of materials as car parts is reflective of a capitalist society, which Japan has become subjugated to; the folded paper derives from christmas ornaments and these particular folded-paper pieces remind him of organistic, natural lifeforms. Together he was able to conjoin car engines and floral designs. His previous interviews detail the names of some of these pieces, such as ‘Money’, ‘Organism of Control’ ‘Quarantine’, ‘Black Tree’ and ‘Eye for an Eye’ which have undertones of angst. He comments that the title is important because whilst the works can be perceived as ‘childish’ and ‘cute’, the titles, like their messaging, should be strong.

Something unique the exhibition omitted from the experience was music accompaniment. Miyazaki explains in past interviews that music played in train stations during Japan’s economic boom to ward off suicide attempts. The aim of the music was to play a charming melody (Westerner’s may associate this melody as a faded ice-cream van, music box melody) to soothe the mind of the Japanese and prevent these tragic events occurring - further symbolising the clashing theme described in these pieces. This music would normally be played during his exhibition. Miyazaki explains that he has not experienced this unique sound anywhere in London, and that his goal is to continue creating pieces and experiences such as this to show the rest of the world the insulated lives of Japan, and that he is doing so as it will naturally happen otherwise due to the unsolicited effects of globalisation (one of the current battles Japan must come to wed).

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