Yusuke Hanai Sees Inspiration Everywhere, All The Time
Yusuke Hanai isn’t just an artist whose work makes you feel good. He’s one of those people who makes you smile, especially when you’re talking to him.
He speaks with intention, invitation, and an airy, warm, familiar air of an old friend who just dropped by to chat. Not really what you’d expect from someone you’re perhaps just meeting for the very first time via the regular computer screen in Los Angeles, another computer screen outside Tokyo, and all the live video feeds and Google meets and audio being instantaneously transmitted between both of them courtesy of some big cable underneath the Pacific digital setup. Or, one of the most in-demand artists both in Japan and around the world, for that matter. Trust us, it only takes a quick scroll here before you realise just how familiar with his work and style you already are.
Hot off a recent collaboration with Vans, Yusuke is heading to New York for his first solo ever in the city. Happening at Pace Prints, the exhibition will present new works on paper and be on view from November 14th to December 20th. Here’s what he had to say about it, his influences, upbringing, and more.
I grew up watching a lot of older (for me, at the time) Hanna-Barbera and Looney Tunes cartoons. Scooby-Doo, Johnny Quest, Jetsons, that sort of thing. Those clearly directly influence you and your style. Why do you think you gravitated towards those characters, attitudes, and styles initially?
That's right. I grew up watching Hanna-Barbera and Looney Tunes cartoons. Of course, I also watched a lot of Japanese anime. My favourites were "Kinnikuman" by Yudetamago and "Dragon Ball" by Akira Toriyama. During my time, it was "Dr Slump" before "Dragon Ball”.
And as a child, I often tried to copy their drawings. Of course, I also admired Osamu Tezuka and Fujiko Fujio, and when watching anime on TV, shows like "Tom and Jerry" and "Bugs Bunny" were also broadcast alongside them. I was really fascinated by those characters. Unlike Japan's simple, in a good way, characters like Hello Kitty.
When I was a child, all the cool things from overseas seemed to be from America.
For the generation older than me in post-war Japan, everything American was ingrained as cool. That influence greatly affected our generation as well. I became captivated by characters with strong personalities, and my favourite pyjamas during childhood had "Tom and Jerry" printed on them, and I wore them until they had holes.
Of course, the works left behind by Hanna-Barbera are still wonderful even without considering that context. However, in an era without the internet, everything Japanese people admired came from America. I admired America, which also led me to skateboarding and surfing.
But young people today can view the world more objectively through the various information available on the internet, rather than media-generated content. Basically, if I were in my twenties now, my artistic style might be completely different.
And when did the Rick Griffin art, Grateful Dead covers, late-stage Roy Lichtenstein influences, surfing, and psychedelic rock you talk about often as well come into play?
When I was in high school, the owner of a nearby café was a surfer. I asked him to take my friends and me surfing. From his VW Type 3 Variant, Grateful Dead music was playing, and there was a Murphy sticker in the café.
I was drawn to its slightly mysterious vibe, reminiscent of American characters I loved as a child. When I looked into it, I discovered that it was the work of Rick Griffin.
And now you clearly have your own unique, iconic style. When did you first see that really taking shape?
In the beginning, I drew various illustrations by imitating Rick Griffin. For example, when the owner of a café asked me to create a poster for an event, I would draw it in the style of Rick Griffin.
At first, it was just a playful activity. But as friends who were musicians began asking me to design graphics for T-shirts and other projects, I realised that copying wouldn't suffice, and that's when my journey to find my own originality began.
You did your schooling in San Francisco. How did that creative and art scene differ from Japan? What did you love, enjoy, or maybe even find odd about it? Is there anything, such as an attitude or approach, you wish you could’ve brought back from California to Japan?
Yes, when I was twenty one, I saved money from part-time jobs and travelled with just a backpack from San Francisco to Mexico. During that time, I felt a strong desire to live in San Francisco someday. Having read Kerouac when I was younger, I was drawn to the city known for beatniks and hippies, and around the time I was twenty, it was also home to artists like Chris Johanson, Margaret Kilgallen, and Barry McGee. So, wanting to learn art in a city where counterculture constantly thrives, I moved to San Francisco in 2003.
I enrolled in the Academy of Arts College, but due to financial constraints, I had to return to Japan without graduating. After high school in Japan, I spent my time aimlessly working part-time jobs and surfing, without any particular goals. By the time I decided I wanted to study art, I was already twenty three years old. In Japan, it's uncommon for people to start university at that age, as most students enroll right after high school.
However, in America, people of all ages attend university if they wish to learn, and there were students from various age groups. This made me feel at ease, knowing I didn’t stand out even at twenty three.
Similarly, what do you love about your home art scene? What unique aspect of it makes it different from other international scenes and environments?
I no longer feel there is a clear distinction between Japan and overseas. And, I’ve always considered myself a perpetual underdog, so I can’t claim to represent Japan.
A lot of your work is also clearly inspired by keen, daily observations and moments you experienced throughout life and work. Characters and patrons, and people you came across while working in music, working in bars, and more. Why do you think that is?
I like observing people. People grow by making countless foolish mistakes, and I’m no different. I’ve made embarrassing mistakes, fallen into self-loathing, and then picked myself up again through conversations with friends, lovers, and family.
It’s the same with the drunkards and surfers I saw while working at a bar. Everyone makes silly mistakes, but that’s what makes people endearing.
My drawings are like a form of communication, where we tease each other, make fun of one another, and laugh together with our arms around each other. There’s no lofty or complicated philosophy behind them. It might be closer to playing around with friends.
Is there a preferred, shared story or theme you’re trying to tell amongst your work?
As mentioned above, the main thing is to bring joy to someone. I believe that making others happy is a source of happiness for people.
And I hope to share my experiences with those who have struggled through a life full of half-hearted efforts, just like me, and that my artwork can bring them joy.
I’ve read that you still try to surf just about every day. Is that true? If so, how does it help your art? It’s one of the best ways to stoke some regular inspiration, in my mind.
No. I don't surf every day. My studio is within walking distance of the surf point, however. But the sea in my area is generally flat, and waves only rise when low-pressure systems develop. Therefore, I usually surf about once a week.
Did art come first, or surfing?
Surfing came first. After discovering surfing, I learned about Rick Griffin's art and started drawing.
And where do you surf?
My home point is the outer reef break in Zushi, next to Kamakura.
What’s your board of choice at the moment? And, somewhat similarly, what’s your medium of choice for your work?
Currently, a pintail twin fin shaped by a friend. For many years now, I’ve only ridden boards shaped by my friend at SEKIZAWASEISAKUSHO. He surfs with everyone he shapes boards for, tailoring the board to suit each person’s quirks, stance, and skill level. It’s like a bespoke, haute couture board, perfectly crafted to match my current level.
Tell us a little bit about your upcoming exhibition at Pace Prints in NYC as well. What attitudes, feelings, or new mediums are you exploring within it?
I've had several exhibitions in California before, but this will be my first solo exhibition in New York. I wonder if my artwork will be well-received there. However, what I draw remains the same. I created pieces that embody a spirit of courage and determination.
Perhaps, deep down, these works reflect my own feelings of facing the challenge of having my first solo exhibition in New York.
You’re doing new drawings on paper and expanding your practice into a new medium for this upcoming exhibit. How did that decision come about?
Yes, I usually paint with oil or acrylic on canvas. But since this time I used paper, I went through a lot of trial and error at first.
Previously, I had only created small-sized works on paper using ink, pencil, and colored pencils. Those methods didn't work well for large paper, so after various experiments, I managed to achieve the lines and colors I wanted the most by stretching the paper onto a wooden panel to keep it flat even when applying paint, and then using gouache.
I read a quote one time from you that said, “In Japan, people think my art looks very American. In the US, people think my work looks very Japanese.” What would you say your art looks like?
I still believe I am on a journey to find my own originality, but I would be happy if those who view my art find it unique.