Which way is it headed? Where is it headed?
At Geidai (Tokyo National University of Fine Art and Music,) Nakamura Tetsuya studied lacquer craft. Later, he became obsessed with surface, and began made hollow insects, mother-of-pearl horses, and gold-foiled tortoises, and started to create replica custom that looked as if they were fastest in the world. All of those things just "appeared like it" with no internal organs or enginees.
Before entering Geidai, he was a javelin thrower. "To try throw as fast as you can without regard for appearance is art, and throwing it in a beautiful form is craft, " he says, and he dose both. "I want to throw far in a cool form," he laughs.
To create something that look as if it can go fastest in the world. while in fact it doesn't move at all. To create something that look toughest in the world though it is empty inside. And to create something that appears so very much like art.
Whether "it" is art or not, is not the question. To create objects that people take for art, to actualize the impression of the concepts and systems that makes art, art- Nakamura Tetsuya is a master criminal with belief that.
Looking "world's fastest" is not equal to a dive into an unknown realm. The "fastest" image can be found in the archives of the memory already imprinted with images from the TV, anime, and cartoon, environment. He sketches forms. Then he tries to look for faster, yet faster forms. Far more so than advocating the unknown, to touch the extremity of knowledge is to peel the facade of the world and to touch the reality of the world. Nakamura Tetsuya is a master criminal with belief in that.
The "fastest form" printed on COMME des GARÇONS T -shirts and "Mickey Mouse riding in the fastest replica custom ." It is not an application of his art for "fashion" or "character." He knows the expression of "speed" is indeed the common shape of "sensuality," a shape with strength to people. There, the pleasures and fears of this age coexist most strongly. And he also knows this is the shape that grabs people's hearts. Rather, COMME des GARÇONS and Disney request his work knowing it is Nakamura Tetsuya's shapes have their extreme "power".
To increase the speed "here" rather than to "be here." Picabia and Pollock loved speed more than "being" art. The importance is to go through, to break away, and to Nakamura Tetsuya, being art or not is just a result.
There are no closures on Nakamura Tetsuya's replica custom. It is not like Frankenstein's monster, but smooth like a creature born out of mutation. It is art as phantom.
Where is it headed? How should we know its destination or direction? Doesn't matter, just give it more speed.
GOTO Shigeo 2001 (Editor/ Creative Director)