With his original “cosmopolitan” calligraphy comprised of fine dots and various alphabets, USUGROW draws a monochrome world. His intricate, beautiful works are beloved overseas, and every time he holds an exhibition, whether it’s in Japan or abroad, it makes a splash.

On June 25, along with artist imaone and architectural designer Ikue Nomura, USUGROW opened SHINTORA PRESS, a multi-purpose space in Minato-ku’s Toranomon, near Kasumigaseki and Shinbashi. As part of the grand opening, USUGROW held a solo exhibition in the space. In part 1, USUGROW talked to us about the thought behind the dance theme of his solo exhibition. In part 2, we unravel his past work and style while getting a closer look at the thoughts of an artist who is active around the world.

The meaning of “cosmopolitan” and his monotone universe

——When did you relocate your home base from Fukushima to Tokyo?

USUGROW: In 2000. I’d go to Tokyo every time I had a meeting, and even though I wasn’t planning to move to Tokyo, before I knew it, I’d moved here. (laughs) I was in a band in my hometown, but because I’d left it behind when I started living in Tokyo, I ended up commuting to Fukushima instead. (laughs)

——Has your monotone style stayed the same since then?

USUGROW: It hasn’t changed. It’s not that I absolutely refuse to use colors other than black and white. I want to use other colors, but I don’t know how to. For now, black and white are beautiful, so I just want to be able to use them properly. I want to use color when the time comes, so I do have green and blue just in case. Although they’ve completely dried up. (laughs)

——Do you like green and blue?

USUGROW: Yeah, I like them. Green like the leaves, and blue like the sky and ocean. I like purple, too.

——That’s great. I’d love to see your work in color!

USUGROW: It might be a while until then. (laughs)

——You’ve been drawing your original calligraphy, “cosmopolitan,” for a while, right?

USUGROW: Originally, cosmopolitan didn’t have any meaning, but I wanted my own font, so I started at the same time and in the same way that I started drawing. From the influence of tags in Venice [Beach] and Chicano-style cholo writing, as well as mixing the alphabets with elements of kanji and Siddham script, it [cosmopolitan] started taking shape. In 2008, I was given the opportunity to have a session with Chaz Bojórquez, and we talked about the importance of what we write with the letters. I started to simultaneously focus on the form of the letters while rethinking the message.

After that, I studied Arabic calligraphy and started Shakyo (a Japanese form of hand-copying sutras). At some point, the form of my letters and what I commonly experience abroad overlapped. When I would hear English abroad, I thought it was interesting to hear people whose native language is something other than English slip in and out of their accent. I felt a sense of harmony in people with different linguistic roots gathering in one city and using English to try and communicate with one another. I felt that my alphabet, which contains elements of many different writing systems, overlapped with that scene. Cosmopolitan means a world citizen or international person, so I feel that part of it relates to today’s ethos.

The moment when art transcends language barriers

——For you, music is part of your roots. You mentioned earlier that aside from hardcore punk and hip hop, you also like ethnic music. What kind of stuff do you like?

USUGROW: It’s hard to explain, but I like music that uses folk instruments but is made with a modern feel. Like having learned about the classics and history, and then doing a crossover with the present day. I’m striving for that feeling as well, and it resonates with me. But for example, that’s different from a rock band that says they’re conscious of Japanese style and just tops off the music with the shamisen sound.

——You also designed CDs and album covers for bands, right?

USUGROW: From 1990 until the beginning of the 2000s, I designed things like flyers, album covers, and merch for various bands. From 1997, I was going to LA every year, and I happened to become friends with someone who owned a record I drew the cover for, and I had my first solo exhibition abroad.

——Where did you have your first overseas solo exhibition?

USUGROW: A skateboard shop called Brooklyn Projects. At first, I happened to walk in by chance. One of the staff members was a guy in a band who liked Japanese hardcore, and he had a record that I drew the cover for. We became such good friends that he let me stay with him, and in 2006, I got the opportunity to have a solo exhibition in the shop. I’d just had my first-ever solo exhibition the year before in Sendai. I’d been thinking that I’d like to do one in LA and Tokyo next, so it was great that I could make it happen. After that, from 2007, I started having exhibitions in various places regularly, though mainly overseas.

——What do solo or group exhibitions mean to you?

USUGROW: I want to meet people I’ve never met before, and I want people who don’t know me to see my work. I try to keep my work open, so if someone gives me the opportunity, I want to do it at a large venue, but there are nice things about small galleries, too. But honestly, I have exhibitions because I want to have them at those particular places, I go to exhibitions because there are people there who I want to meet, and I cherish exhibitions because I like the scenery. That’s all there is to it.

——How was your first solo exhibition abroad? I think drawing and dance are both things that transcend language barriers.

USUGROW: Of course, I had that feeling, too. My roots are in underground music, and I’d always seen precedents of musicians who don’t get much media exposure in Japan but are active internationally, so I was happy to be able to have the first-hand experience of overcoming language barriers through my art.

——How did the visitors react?

USUGROW: I think they responded to the pointillism and the detailed handwork. Also, when it comes to adding things, subtracting them, or enjoying the white space—there might be a difference in sensibilities. I’ve been asked, “Why did you leave this space blank? You should draw letters or something here.” But I said, “It’s fine the way it is.” (laughs)

But that story is from the early 2000s, so I think it’s totally different now. Sensibilities get updated, and because we live in a time where we can connect across time zones, maybe the commonly used phrase, “national character,” isn’t that helpful anymore. I wonder how many people could actually answer the question, “What is a Japanese person?” I feel like it’s silly for your nationality to be your only point of pride. I think it’s more important for people to have confidence in themselves as individuals.

——The spirit of individuals, rather than the national character, is what transcends borders. That’s what led to your solo exhibition, SPIRIT BEYOND BORDERS, which we talked about in part 1.

USUGROW: At first, I thought it’d be easy to understand if I wrote the name of the dance and country on each piece. But I got stuck on writing the country name. For example, flamenco is said to have originated in the Andalucía region of Spain. But there was Arab influence there, and the Romani people who danced flamenco migrated west from India, so there’s a theory that it has roots in India’s kathak dance. Other than that, there are also many similarities in the costumes and movements of the dances of Southeast Asian countries, and with indigenous dances, there are similarities in the adornments they wear or their depictions of animals. There were a lot of similarities that couldn’t be categorized by country. Dance is something that people have passed down since ancient times, so it’s not the culture of a country, but the culture of people.

I think that the culture born out of expression can’t be categorized by country. I mentioned the phrase “national character” earlier, but I really want to say that essentially, people come before the country.

USUGROW（薄黒）
USUGROW is an artist who began his career in the early 90s making flyers in the underground punk and hardcore music scene. Since then, he has been involved in album design, art direction, and merchandise for musicians across various genres, and has collaborated with skateboarding and fashion brands.
Instagram：@usugrow
http://usugrow.com/

Photography Tsutomu Yabuuchi（TAKIBI）
Text Shogo Komatsu
Translation Aya Apton

The post USUGROW [Part 2]: On his roots, his style, and the power of expression that connects the world appeared first on TOKION - Cutting edge culture and fashion information.

With his original “cosmopolitan” calligraphy comprised of fine dots and various alphabets, USUGROW draws a monochrome world. His intricate, beautiful works are beloved overseas, and every time he holds an exhibition, whether it’s in Japan or abroad, it makes a splash.

On June 25, along with artist imaone and architectural designer Ikue Nomura, USUGROW opened SHINTORA PRESS, a multi-purpose space in Minato-ku’s Toranomon, near Kasumigaseki and Shinbashi. As part of the grand opening, USUGROW will hold a solo exhibition in the space. The exhibition is titled SPIRIT BEYOND BORDERS and features a line-up of works with dance as a motif—but why did this theme strike a chord with him? We went to the space before the opening day, and surrounded by his art, we talked to him about the meaning behind his work.

Aiming to be a gallery where people can always drop by and see something interesting

——Congratulations on the opening. When did you originally get the idea for SHINTORA PRESS?

USUGROW: Thank you. Imaone’s office is on the upper floor of this building, and since the first floor was vacant, we started talking about how we could find a way to use it if we kept it clean. About three years later, the gallery was completed, although we hadn’t originally planned for it.

——Until 2017, you were running HHHgallery in Katsushika with HAROSHI and others, right?

USUGROW: Right. I’d never had my own solo exhibition at HHHgallery, but I used to organize other artists’ solo and group exhibitions. I’d like to bring the best parts of that gallery to this space. When we started HHHgallery, there were lots of solo exhibitions being held at clothing stores and small galleries, and there were a lot of opening parties that served alcohol. But at HHHgallery, we didn’t have those kinds of parties. We were only open on weekends during the day, so even people with kids could come visit and relax. I liked the vibe of being laidback and opening from noon, so I personally would like to carry that over to SHINTORA PRESS.

——Lively opening parties are fun too, but I liked the atmosphere of HHHgallery as well.

USUGROW: I like the atmosphere of parties that are overflowing with people, and if they’re serving alcohol, I want to drink it. (laughs) But I’d like to do something different from that. Isn’t it nice to have a space where even if there aren’t many people there, there’s something interesting going on?

——In the future, do you plan to regularly have solo or group exhibitions by artists you’re interested in?

USUGROW: It’s not like we can rent the space to just anyone because they’re unveiling their work, holding an exhibition, or having a film screening. But aside from the exhibitions we organize, it’d be nice to be able to offer a space where people can show something.

——I also like the atmosphere of this space. It’s located in the backstreets of a new part of town called the “Shintora area,” right nearby traditional kissaten [Japanese-style coffee shop] and barbershops.

USUGROW: I mean, I was okay with it being anywhere. (laughs) If you have a place where you can introduce something good, people will come. Places like Harajuku and Shibuya already have their own charm, so I wanted to create an atmosphere that was different from those kinds of places. There’s a movement happening right now—sort of like an art boom—which in itself is not a bad thing at all, and the artists themselves are probably working with that in mind. But I also want to introduce interesting people who aren’t concerned with that art scene or art business.

——In this past year or so with the coronavirus, there have been many online exhibitions. But to the extent possible, you were holding in-person exhibitions, right?

USUGROW: To be honest, either way of doing it is fine. But people who see it on their screens and want to see more will probably come to see it in person. So, it’s better to have a venue where people can see the art in real life, and I’d like to continue to value that kind of space. I would never tell someone that they have to see a work in person, but there are probably a lot of things you won’t be able to feel unless you see it with your own eyes. I think there’s something that you can only see by seeing it in person.

——There was definitely a different impact between when I saw the Instagram announcement for this exhibition versus looking at it now. I can see the works more in detail, and it’s like that feeling of tension comes through.

USUGROW: It’s best to see it in person. However, I always want to be open, so I don’t have the thought that I’ll only show people who come to the venue my work, or that I won’t upload it on social media.

Primitive dances and the spread of culture

——This solo exhibition, SPIRIT BEYOND BORDERS, is being held as the opening of SHINTORA PRESS. You’re displaying pieces that feature dance as a motif, which is a motif you started working with 7 years ago, right?

USUGROW: A flamenco piece inspired me to start drawing things that were different from my past illustrations. I’d been thinking that I wanted to get everything together for an exhibition, but then it took a bit of time, which is why it’s out now.

——I’d seen several works that use dance as a motif, but it was a bit unexpected that dance became the theme of this solo exhibition.

USUGROW: I was familiar with festival dances, such as my hometown of Miharu (Fukushima Prefecture)’s Hyottoko Odori, or the Awa Odori. But when I thought about it more deeply, I realized that dance was this incredible thing, so I dug deeper. I like music, and folk music, so I was simultaneously exposed to a lot of that, and everything came together.

——There aren’t any works that use pointillism in this exhibition.

USUGROW: Not this time. But it’s not like I’ve become bored or don’t draw like that anymore. I’m not signed to any gallery, so I want to keep drawing what I want, how I want. But when you’ve been drawing for over twenty years, every time you overcome your own hurdles, the next hurdle becomes even higher, so it ends up taking longer and longer. So, I’d like to continue working at my own pace.

——So it’s basically a new challenge?

USUGROW: I think anyone would get a bit stuck or stagnant if they kept doing the same thing for a long time. So if you’re just going to be at your desk wondering, “What should I do?”, then it’s more interesting to keep trying other ideas that are on your mind and keep it moving. Plus, you can apply whatever you discover there to the methods you’ve been using. I want to keep doing whatever I think of.

——With these works, where you depict all kinds of dances, the cosmopolitan “i” is personified, right?

USUGROW: That’s right. I made the dot of the “i” into a person’s head. “I” means me, and everything important in life, like “identity” and “independent,” begins with “i,” so I thought “i” was nice. Plus, it could be interpreted as “ai” [“love” in Japanese].

——What did you think after drawing everything?

USUGROW: There’s a flow within the human body, but many people have forgotten that intrinsic part of us, so I wanted to draw in a way where you could understand this visually. On top of that, when I was digging into the culture of dance and music, I noticed something. I realized that one ethnic group’s dance is introduced to another place and transforms, and then that’s introduced somewhere else and transforms again, and that’s how it circulates. I was reminded that culture keeps spreading, and even if a country or ethnic group dies out, the culture that was born there lives on elsewhere. I sort of knew that, but isn’t that an amazing connection? And it just so happens to be in sync with our current situation.

——What do you mean by our current situation?

USUGROW: I feel like in the past few years, the borders have become even stricter than before. Entering the country has become a hassle, sending packages requires more and more paperwork, and tariffs are expensive. Starting with those familiar experiences, I feel like we have more problems facing our country. Conflicts, immigration issues, and the exploitation of developing countries are all rapidly coming to the surface. Cultures from around the world are spreading via the internet, but in contrast, the invisible walls we call “borders” have somehow become higher. That contrast has become more pronounced, which feels strange. It’s not like I’m trying to call for action, but coincidentally, people all around the world—including myself—have been forced to stay inside due to the coronavirus. So even if it’s just with my thinking, I want to be outward-facing. Maybe there’s part of me that wants to convey that.

——Maybe the spread of ancient dances and the digital spread of culture today are different in form, but things haven’t really changed.

USUGROW: Right. I think things haven’t changed, but we take it so much for granted that we don’t know what it feels like anymore. Apart from just dance— punk, hip-hop, and skateboarding, which I love, are easy examples. Within hardcore punk, there’s Japanese hardcore, a style that’s established worldwide. The hardcore punk style that began in the UK in the 1980s was introduced to Japan. From there, it transformed into a unique style, which spread once again throughout the world. So, a culture that was born in one country was introduced to another country, where it transformed, and that’s how new styles are born in every place.

——So things won’t be contained to just one country.

USUGROW: Even the things we casually enjoy are spreading all over the world, thanks to our powerful and deep instinct to express or try things. That’s an incredibly valuable thing. No matter how tall they make the border [walls], the culture we love will spread, so people shouldn’t underestimate that. Today, our country has all kinds of issues, but that won’t get in the way of the culture we love. And in the same way that dance and music have spread, I think the rich history of culture and the strength of humankind will remain unchanged in this era, too.

※Continues to the last half part 2

USUGROW
USUGROW is an artist who began his career in the early 90s making flyers in the underground punk and hardcore music scene. Since then, he has been involved in album design, art direction, and merchandise for musicians across various genres, and collaborated with skateboarding and fashion brands.
Instagram：@USUGROW
http://USUGROWUSUGROW.com/

■SPIRIT BEYOND BORDERS
Date: ~June 27th, July 2nd-4th, 9th to 10th
Venue: SHINTORA PRESS
Address: Nishi-shinbashi Tachikawa Building Annex 1F, 2-12-7 Nishi-shinbashi, Minato-ku, Tokyo
Time: 14:00〜20:00
Tickets: Free
※Guests with reservations will be given priority for admission. Guests without reservations may be asked to wait depending on how busy it is. To make a reservation, please register using the reservation system, SELECTTYPE.
https://select-type.com/rsv/?id=VezIaGz7KAs&c_id=166193

Photography Tsutomu Yabuuchi（TAKIBI）
Text Shogo Komatsu
Translation Aya Apton

The post USUGROW [Part 1]: The thought behind his dance drawings, the unchanging spirit, and the diffusion of culture appeared first on TOKION - Cutting edge culture and fashion information.