Mr. Ah expresses a unique worldview with simple lines.

We also provide illustrations for the MV of the dance music brand “FUTUREmode” from avex, and are engaged in a wide range of art activities. This time, he took on the challenge of sublimating the Kyo-Yuzen design painting “Draft”, a traditional craft design that is about to disappear into history, into a new work of art.

We interviewed Mr. “A” about his thoughts on creating his works and the new challenge of collaborating with traditional Japanese crafts that transcends time.

Mr. “Ah” NFT work page: https://hinata-nft.com/creators/works/aaa-illust

Creative activities driven by heart-shaking emotions

――Thank you for participating in the “HINATA” Kyo-Yuzen collaboration project.

[Ah]
I am very happy to have this kind of relationship.

―I’m honored to hear you say that!
　　First of all, can I ask about your usual activities and career?

[Ah]
I usually work mainly on Twitter. In addition to creating my own works, I also draw pictures at the request of artists.
It’s been a few years since I started receiving requests, but I’m really happy that so many people are seeing it.

I’ve loved drawing since I was a child, and for a while I thought I wanted to be a manga artist (laughs), but when I became an adult I stopped drawing. At that time, I came across a certain work, and my heart trembled. I want to express myself! I thought. From there, the creative activity began.

――It was a very shocking encounter that made your heart tremble.

[Ah]
That’s right.
So basically, I draw whatever I want to express. It is a form of working with people who like it and resonate with the world view.

Entrust your brush with emotional and indescribable sensibility

――As the word “resonance” suggests, I feel a unique worldview in your works.
　　Both realistic landscapes and abstract/imaginary works will make you feel nostalgic and shake your heart!

[Ah]
I’m so happy to hear that!
Basically, I make works with the theme of “emo”, but I think that “emo” is a really Japanese word, and I like to use it.
It’s emotional, and it’s also indescribable. I think it’s a word that has various meanings depending on the situation and the person. I feel that it’s nice to dare to give various meanings softly.

――”Emo Iwarenu” was a scale from my eyes!
　　Come to think of it, there is something close to “emo” as an emotion or impulse that I want to express.

[Ah]
Isn’t it? (laughs)
Why do people with different ages and backgrounds look at the same thing and find the same “emo” in it?
“Emo” in my work is the nostalgic and sentimental feeling that you feel when you see a landscape that you have experienced or seen before. And it refers to all the emotions evoked by the scenery.
So, in fact, the experience differs from person to person. If you see my paintings and feel “emo”, it’s not the “emo” that I drew, but the “emo” for that person. We seem to see the same thing, but we don’t see the same thing. However, I also think that the word “emo” may be the word that encompasses all of them.

Leave fluffy things fluffy.
It may not be necessary to verbalize it in more detail.

――Keeping clear information to a minimum and enjoying the work based on the imagination of the audience is similar to traditional Japanese literature such as haiku, isn’t it?
　　Indeed, “emo” may be very Japanese.

[Ah]
That’s exactly what I can’t say.
That’s why I’m conscious of wanting to keep the lines and colors as soft as possible. I draw while thinking that I want to leave a margin for imagination.

――Where do you come up with ideas for such “emo” illustrations?

[Ah]
I like to travel, and the scenery of the city and the scenery of nature often shake my heart. Most of my paintings are based on such scenes that I happen to come across. But if anything, I prefer places that are buried in everyday life.
There’s something about the freshness you feel when you return to a familiar place after a trip. I love that. It may not be an exaggeration to say that I travel for that reason (laughs)
. I cherish that kind of feeling.

――The idea of ​​traveling in order to come back is profound.
　　I can understand how you feel indescribable joy when you rediscover the wonderful things around you.

[Ah]
Sometimes I draw real landscapes, sometimes I draw imaginary landscapes, but the basic idea is the same.
In everyday life, there is extraordinary. In the same way, I think that the boundary between reality and unreality is ambiguous. After all, we are actually layering things that are invisible in form. Lately, it’s been accelerating. On the other hand, the real thing is here. It may be something like an experiment to find such a boundary.

Simple and to the point. Japanese sensibility conveyed by the beautiful lines of Kyo-Yuzen

――I heard that you like line drawings.
　　The draft you used in this collaboration was just a line drawing.

[Ah]
That’s right, my favorite part of the drawing process is the line drawing, and I always draw with the feeling that I want it to end, and I don’t want it to end.
At first glance at this draft, there was something about the beauty of it that made me feel inward.

Actually, I like nishiki-e, and I often refer to the works of old painters. She also loves kimono and wears it often. I was very interested in traditional designs, patterns, and expressions, so this story was very special to me.
The ancient Japanese sensibility, which captures the essence of beauty in simplicity, is truly wonderful. Also, the fact that we can understand it today is also the reason why it is a tradition.

Especially in Yuzen this time, “lines” play a very important role.
How can I express myself while preserving the expression of the beautiful lines as much as possible? It was a very solemn and fresh experience for me to draw lines while thinking about the draft and the time.

With respect for chrysanthemums and girls with unchanging beauty, and Kyo-Yuzen

――Why did you choose Kiku’s draft for the collaboration work?

[Ah]
I was attracted to chrysanthemums because I often work with plants in my own work.
Also, I thought it was very interesting that chrysanthemums have different expressions at different times.

Since chrysanthemums are often offered as Buddhist flowers, some people associate them with death, while chrysanthemums depicted on kimonos are auspicious and symbolize longevity. While it is so prestigious that it is used as the family crest of the imperial family, it is a familiar flower loved by the common people, so it is popular as a variety of motifs. I felt that chrysanthemums with such various meanings were very attractive.

Also, when I thought about why the chrysanthemum in the draft was so moving, I thought that it was because the essential beauty was expressed there. Even if the times change, it will continue to be there without change. Unchangeable things that can be seen suddenly in the midst of constant change. I wonder if that’s what beauty is.

In that sense, the girl who often appears in my works is actually a symbol of that.
Everyone grows old and dies, but there is always a boy or girl inside who never changes. Ephemerality that passes quickly and eternity that contradicts each other. We feel like we find beauty there.

――I see. Certainly, the brilliance and sentimentality of the age called “youth” has not changed in any era, and everyone has it.
　　Besides girls, are there any other things you put into your illustrations?

[Ah]
This time, it is a picture of a scene where white chrysanthemums are growing.
In the Western language of flowers, white chrysanthemums represent “truth”.
From the distant past, even in the times that will continue into the future, the truth will always continue to exist. But for us, it may look different. Yet we always continue to cultivate our truth.
As if the history continues, the continuous flower garden was filled with chrysanthemums in full bloom.
It’s a fine line, but I drew it one by one with my own lines while referring to the draft, so I’d like you to see it.

――Did you make a line drawing for each wheel?
　　Even though there was a rough sketch, it must have been a difficult task.

[Ah]
That’s right.
It was quite a challenge to draw, but it was fun to see the flowers grow little by little, so I was absorbed in drawing them (laughs).

In Yuzen, paste is placed on the lines of the fabric on which a rough sketch is drawn based on the draft, and “thread eyes” that play the role of embankments are drawn to prevent adjacent dyes from mixing, and then colored with a brush.
After that, when the glue on the itome is removed by a process called “Mizumoto”, which is also famous for Yuzen nagashi, the fabric appears in a white state. After that, it seems that gold is put on the line and embroidery is applied.
I feel that the white lines that emerge after being washed with water are very beautiful. I added a greenish color to the lines.

――That’s a wonderful episode where I can feel your love and respect for Kyo-Yuzen.

[Ah]
Thank you.
Even so, the traditional Yuzen process is really complicated and meticulous, and I was able to learn about the hard work and patience of the craftsmen behind the beauty.
I sincerely hope that the wonderful tradition of Yuzen will continue.

Future activities

――This time, you made your NFT debut with a Kyo Yuzen collaboration work, but will you continue to announce NFT works in the future?

[Ah]
I feel really grateful that NFT debut was made in this way.
I would like to continue to express myself in various ways, and I would like to release NFTs at my own pace.

I’m doing my best to be myself and keep drawing what I want to draw, but I’m always encouraged by people who are looking forward to my work and who say they like it. Thank you.
Thank you for your continued support!

――I’m looking forward to your future works. thank you very much!

Bringing the traditional beauty of Kyo-Yuzen to the present and the future. “KYO “NEXT” YUZEN” project

　“HINATA” is promoting the “KYO “NEXT” YUZEN” project launched together with Sekiya Dyeing Co., Ltd.
　The “KYO “NEXT” YUZEN” project converts “drafts” created as Kyo-Yuzen design drawings into digital data, converts them into NFT and sells them, thereby preserving the traditional design of Kyo-Yuzen and looking to the future. intended to convey.
　In addition, we actively create new imaginations by combining contemporary artists and creators of each genre with the traditional craft of Kyo Yuzen.

　KYO “NEXT” YUZEN　https://www.official.hinata-nft.com/sekiya-sensyoku/

　We welcome artists and creators of any genre, such as illustrators, photographers, calligraphers, and designers.
　We are waiting for your new imagination to draw with Kyo Yuzen!

　Contact: info@hinata-nft.com

---

---