{"id":560,"date":"2024-04-11T17:15:15","date_gmt":"2024-04-11T08:15:15","guid":{"rendered":"https:\/\/staging.newgallery-tokyo.com\/special_feature\/%e3%83%87%e3%82%b8%e3%82%bf%e3%83%ab%e3%81%af%e3%80%8c%e5%98%98%e3%80%8d%e3%81%98%e3%82%83%e3%81%aa%e3%81%84%e3%81%a8%e6%b0%97%e4%bb%98%e3%81%91%e3%81%9f%e2%94%80%e2%94%80nina%e5%88%9d%e5%80%8b\/"},"modified":"2024-05-22T09:55:36","modified_gmt":"2024-05-22T00:55:36","slug":"nina-afterbirth-interview","status":"publish","type":"special_feature","link":"https:\/\/staging.newgallery-tokyo.com\/en\/special_feature\/nina-afterbirth-interview\/","title":{"rendered":"Digital is not a \"lie\" - an interview at nina's first solo exhibition \"AfterBirth\""},"content":{"rendered":"\n
\"\"
@Ittetsu Matsuoka<\/figcaption><\/figure>\n\n\n\n
\n
In March 2024, nina held her first solo exhibition \"AfterBirth\". She has been exploring the sensations of people oscillating between the virtual and the real, and between information and the physical, through her unique expressions. Having focused on digital as her main battlefield, in this exhibition she has ventured into new forms of expression, including three-dimensional works and oil paintings. We asked her in detail about the background of her first solo exhibition in her sixth year since debut and the thoughts embedded in each piece.<\/pre>\n<\/div><\/div>\n\n\n\n
Longing and resignation towards \"nature\"<\/h3>\n\n\n\n
\"Longing<\/figure>\n\n\n\n
\u2014Congratulations on your first solo exhibition. Why did you decide to hold it at this time?<\/h4>\n\n\n\n
I've always wanted to have a solo exhibition. However, it was difficult with overlapping work commitments. About a year ago, I finally started telling people around me that I wanted to have one. Around that time, I happened to receive an invitation from New Gallery, and I replied, \"Let's do it together.\"<\/p>\n\n\n\n
\u2014Until now, you have been mainly working with digital expressions like illustrations and animations, but this time you've ventured into oil painting and sculptures.<\/h4>\n\n\n\n
I was initially unsure about the direction for the exhibition. Whether to archive my past activities or to try something new... But then I realized that most of my works were designed to be viewed on screens, and it didn\u2019t seem very meaningful to forcibly exhibit them in a physical space. Instead, I wanted to delve into things I really wanted to do and hadn't been able to do yet.<\/p>\n\n\n\n
\u2014In your statement, you mentioned, \"I don't want to forget the body.\" Could you elaborate on that?<\/h4>\n\n\n\n
I've always felt a kind of discomfort drawing digitally, as if I was lying... But I couldn't understand why I felt that way. When the opportunity to hold an exhibition came, I took the time to explore this feeling deeply. <\/p>\n\n\n\n
What became clear was that I seem to believe in \"the natural way of being as a living creature\" or \"being human as Homo sapiens\" as the \"truth.\" That\u2019s why expressions that don\u2019t involve the body feel like \"lies\" to me.<\/p>\n\n\n\n
 However, I was born in the city and grew up surrounded by computers, drawing digitally. I wondered about this contradiction. That's what led to the feeling of \"not wanting to forget the body.\"<\/p>\n\n\n\n
Navigating between digital and physical as my own identity<\/h3>\n\n\n\n
\u2014Has that feeling of discomfort resolved?<\/h4>\n\n\n\n
As I considered what to create for the exhibition, I read various books and watched videos, gradually coming to accept it. Being surrounded by buildings and expressing myself digitally is also \"natural\" for me. On the other hand, the \"physical nature\" I had been clinging to wasn't necessarily real for me.<\/p>\n\n\n\n
\u2014Recognizing that the \"digital\" is part of your nature...<\/h4>\n\n\n\n
Yes, I realized it\u2019s better to acknowledge that. Moving between digital and physical expressions is what feels most like me. I've probably been unconsciously balancing this all along, and that's why I felt anxious when my work skewed too digital. But now, I no longer think of digital expressions as \"lies.\" For me, living in the modern world, that's natural.<\/p>\n\n\n\n
\u2014As a result of consciously balancing digital and physical, does this exhibition feature more physical expressions?<\/h4>\n\n\n\n
Yes, I've always wanted to try oil painting and sculptures, and I finally understood why.<\/p>\n\n\n\n
\u2014Were there any books or works that inspired you?<\/h4>\n\n\n\n
I've seen many, but one significant influence might be the \"WEEKLY OCHIAI\" program hosted by media artist Yoichi Ochiai. I binge-watched the archives, especially the episode featuring guest Akinaka Senzaki was fascinating.<\/p>\n\n\n\n
\u2014How was the title \"AfterBirth\" decided?<\/h4>\n\n\n\n
The theme of navigating between digital and nature was set, but I couldn\u2019t find the right word to fit. While flipping through a medical dictionary on my phone, I stumbled upon the term \"afterbirth,\" which refers to parts of the placenta and such being expelled from the mother\u2019s body after the baby is born. The nuance of something that was part of oneself being separated at the moment of birth perfectly matched the theme, so I translated it into English as \"AfterBirth.\"<\/p>\n\n\n\n
\"AfterBirth\"<\/figure>\n\n\n\n\n\n\n\n
Drawings: A Diary or a 'Friend'<\/h3>\n\n\n\n
\"Drawings:<\/figure>\n\n\n\n
\u2014Tell us about the drawings placed at the back of the venue.<\/h4>\n\n\n\n
I wanted to share my personal side through this exhibition. Therefore, I designed the entire exhibition space to resemble a \"room,\" placing the drawings at the very back. By doing this, I hoped to envelop the entire space with an intimate atmosphere.<\/p>\n\n\n\n
 The drawings themselves are like a diary that I've been continually adding to, with the oldest ones dating back to around 2012. They're usually not shown much, and they often emerge spontaneously, so I believe they allow visitors to feel a part of me that's closest to the core.<\/p>\n\n\n\n
\u2014Did you create any new pieces specifically for this exhibition?<\/h4>\n\n\n\n
Yes, I created some larger pieces specifically for the show. Wanting the colors to really pop, I used pencil drawings enhanced with markers and brush pens. <\/p>\n\n\n\n
This time, I also experimented with scanning the drawings and finishing them as digital illustrations. Since a fully digital process can be overly controlled, incorporating some analog messiness into the paintings seemed important.<\/p>\n\n\n\n
\u2014There are several pieces depicting viscous, liquid-like substances. What are these about?<\/h4>\n\n\n\n
Originally, I naturally visualized negative emotions like sadness or anger as something like pus coming out of the body. The presence of horns or a somewhat threatening appearance might be an expression of these negative emotions. I wanted to translate a sensation of fluctuating bodily boundaries into an animated form.<\/p>\n\n\n\n
\u2014Not limited to drawings, but you consistently use female figures as motifs, correct?<\/h4>\n\n\n\n
I've been drawing female portraits since I was a child. I'm not very good at expressing my emotions verbally, so when I'm sad or angry, I sublimate those feelings through drawing. When it comes to expressing my own emotions, depicting women, like myself, feels the most natural, so I end up drawing them repeatedly. It's not exactly a self-portrait, but more like depicting 'the friend who understands me best.'<\/p>\n\n\n\n
Sculpture: The Struggle of a girl with her own weight<\/h3>\n\n\n\n
\"Sculpture:<\/figure>\n\n\n\n
\u2014A statue of a girl with angel-like wings is placed at the center of the venue. What inspired you to create a sculpture?<\/h4>\n\n\n\n
I thought it was a good opportunity to work with sculptures given the spacious venue. I had been interested in this medium for a while. I\u2019ve attempted to learn 3D modeling several times before but always ended up giving up. <\/p>\n\n\n\n
In terms of the production process, I first handed my rough sketches to a sculptor. From there, we built a 3D model, adjusted the pose, and eventually, it was printed using a 3D printer. It arrived at my place where I added the eyes and applied a distressing paint finish just before the exhibition.<\/p>\n\n\n\n
\u2014Can you tell us about the motif?<\/h4>\n\n\n\n
The exhibition space was designed to resemble a \"room,\" and I thought having a girl living alone there would add realism. This girl, surrounded by information from social media, feels her body getting heavier. Although she has wings, they aren\u2019t for flying but rather act as a weight, though she herself doesn\u2019t realize it. The muckiness surrounding her in the sculpture is more of an external influence rather than something emerging from within. The focus is the smooth presence of the girl, but I wanted the details to be quite grotesque, which I think balanced out well.<\/p>\n\n\n\n
\u2014How did you feel seeing your drawings turn into sculptures?<\/h4>\n\n\n\n
I was truly delighted when it first arrived. As I added the eyes and completed the figure, it felt as though it was coming to life, which was quite magical.<\/p>\n\n\n\n\n\n\n\n
\"AfterBirth\": Physical grotesqueness with a social media filter<\/strong><\/h3>\n\n\n\n
\"AfterBirth":<\/figure>\n\n\n\n
\u2014Tell us about \"AfterBirth\" and its counterpart \"stuck in place\", both of which serve as key visuals.<\/h4>\n\n\n\n
\"stuck in place\" solidified early on as a key visual that would guide the preparation of the exhibition. I had it completed around January. Especially for this exhibition, I wanted to use grotesque, visceral imagery to represent the theme, so I started with an animation. Animating it brought out a sense of life and presence in the space.<\/p>\n\n\n\n
\"For AfterBirth\", I depicted humans whose boundaries between self and others are blurred. With the proliferation of SNS, we often perceive people as massive amounts of text data, which can make one forget the reality of having a physical body.<\/p>\n\n\n\n
\u2014Hearing \"blurred boundaries between self and others\" sounds negative, but the actual paintings seem neither positive nor negative.<\/h4>\n\n\n\n
Yes, I didn\u2019t want to lean too far in either direction. I wanted to depict modern existence beautifully. Therefore, even with visceral expressions, I opted for a slightly magenta hue rather than realistic blood colors.<\/p>\n\n\n\n
\u2014The hearts in the characters' eyes are also striking.<\/h4>\n\n\n\n
The hearts weren't planned from the beginning; they emerged naturally as I drew. The composition involves four girls overlapping as if melting into one, but only the girl in the center has a true sense of self. The others are more like zombies, neither alive nor dead, surrounding her. This contrast is something I wanted to emphasize with the hearts.<\/p>\n\n\n\n
Oil Painting: Embracing the Texture of 'Chance'<\/strong><\/h3>\n\n\n\n
\"Oil<\/figure>\n\n\n\n
\u2014There are three large oil paintings displayed. I heard this was your first attempt at oil painting. Why did you decide to paint with oils?<\/h4>\n\n\n\n
While planning the exhibition layout, one wall was completely empty. Initially, I thought of digitally printing and then painting over it to complete the works, but I decided that if I was going to make a physical expression, it would be better to go all out with oil paints. Although it was completely new to me, I painted while learning from an oil painting artist.<\/p>\n\n\n\n
\u2014How did you find the experience?<\/h4>\n\n\n\n
I found it surprisingly suited to me. I\u2019ve tried acrylic and watercolor before, but they weren\u2019t really my forte. They dry too quickly, requiring me to have a fully formed image in my mind and paint in a planned manner, which didn\u2019t suit me. Oil paint, however, allows for continual layering, much closer to the feeling I get when drawing.<\/p>\n\n\n\n
\u2014Can you describe how each of the three paintings was created?<\/h4>\n\n\n\n
The first one I painted was the red painting in the middle. It corresponds with the key visual, depicting girls huddled together, melting into one.<\/p>\n\n\n\n
The next was the blue painting on the right, which is more like my usual digital work, focusing closely on a single girl.<\/p>\n\n\n\n
For the first painting, I followed traditional oil painting techniques, sketching with a pencil before painting. For the second painting, I used a technique more similar to my digital work, outlining boldly from the start then filling in the areas.<\/p>\n\n\n\n
The second felt more like my digital work, starting with defined shapes. The first had more of the chance overlays of paint, which felt different.<\/p>\n\n\n\n
\u2014The blue painting also features a liquid-like expression that is quite distinctive.<\/h4>\n\n\n\n
It\u2019s linked to a drawing displayed called \"Hedoro\" featuring a girl with horns. For the painting titled \"Twin Hedoro\", I aimed for a look where the twin tails seem to melt and become part of the body. I wanted to maintain a slightly toxic atmosphere, so I was mindful of how the paint dripped.<\/p>\n\n\n\n
\u2014What about the yellow painting on the left?<\/h4>\n\n\n\n
This was the third painting I worked on, keeping the other two in mind. Since the girl in the second painting looks directly at the viewer, I positioned this girl with a slightly averted gaze. By this time, I had gotten the hang of oil painting, understanding how to layer and mix paints. The areas where I layered yellow and green were where I consciously employed an oil-like expression.<\/p>\n\n\n\n
\u2014Do you feel a difference between your digital and oil paintings?<\/h4>\n\n\n\n
They are quite different. Paint dripping and colors mixing create unintended spontaneous expressions that naturally occur with oils. But I\u2019ve come to love these imperfections. With digital, I tend to chase perfection, but with oils, I realized I could play more freely.<\/p>\n\n\n\n
\u2014Will you continue with oil painting?<\/h4>\n\n\n\n
Yes, I really like the presence that physical paintings have, so I want to try even larger paintings next.<\/p>\n\n\n\n
\"nina\"
@Ittetsu Matsuoka<\/figcaption><\/figure>\n\n\n\n\n\n\n\n
Merchandise: Making Art Feel More Accessible<\/h3>\n\n\n\n
\"Goods:<\/figure>\n\n\n\n
\u2014I heard you also put a lot of effort into the merchandise.<\/h4>\n\n\n\n
I often buy merchandise myself when visiting museums. Items like postcards that I display at home are really important to me. They continually remind me of the exhibition experience, and I wanted to offer that to people who came to see my work.<\/p>\n\n\n\n
\u2014Do you have any favorite merchandise items or memorable moments from their creation?<\/h4>\n\n\n\n
\n
I\u2019m attached to all of them, but I particularly like the embroidered sweatshirts. I\u2019ve always liked embroidered T-shirts, and I thought turning my drawings into embroidery would be interesting. I\u2019m really satisfied with how well the drippy texture came out.<\/p>\n\n\n\n
\"sweatshirts\"<\/figure>\n\n\n\n
I also focused on the lenticular sticker postcards. I\u2019ve always liked lenticular prints because they change with the viewing angle, and they pair well with animation, so I definitely wanted to try making them.<\/p>\n\n\n\n
\"Lenticular\"<\/figure>\n\n\n\n
I\u2019m also fond of the silk scarves. Friends had been telling me to make silk scarves, and this time I finally did it. They\u2019re quite large at 60\u00d760 cm, so I think they make the artwork feel more accessible.<\/p>\n\n\n\n
\"silk<\/figure>\n<\/div><\/div>\n\n\n\n
Reflecting on the First Solo Exhibition<\/strong><\/h3>\n\n\n\n
\"On
@Ittetsu Matsuoka<\/figcaption><\/figure>\n\n\n\n
\u2014Looking back, what are your thoughts on your first solo exhibition?<\/h4>\n\n\n\n
It was terrifying at first, having studied fine arts at an art college, where exhibitions were essentially assessments by professors. But seeing how much fun the guests had at the reception and on the opening day reassured me. It made me realize that entertaining them is what matters most.<\/p>\n\n\n\n
\u2014Was there a difference between this and your usual client work?<\/h4>\n\n\n\n
It\u2019s completely different. Client work is all about delivery, with clear right and wrong answers. You try to incorporate your own elements while meeting the request.<\/p>\n\n\n\n
 But self-initiated work comes entirely from within, offering more freedom but also more difficulty. It starts by diving deep to find what I want to draw, then figuring out how to convey that to others, the reverse order of client work.<\/p>\n\n\n\n
\u2014What was it like to sell your artwork for the first time?<\/h4>\n\n\n\n
It was simply thrilling. When I completed the three oil paintings, I felt sad thinking they would soon belong to someone else. But it was truly gratifying when they were bought. Normally, I paint with the expectation that an unspecified number of people will see my work, but selling one-of-a-kind paintings felt like engaging in one-on-one communication, which was refreshingly new.<\/p>\n\n\n\n
Crossing Genre Boundaries<\/strong><\/h3>\n\n\n\n
\u2014Last November, you changed your artist name from \"Ai Nina\" to \"nina\". Was this in anticipation of the exhibition?<\/h4>\n\n\n\n
No, there was a completely different reason... Writing my surname \"Ai\" in Roman letters becomes \"AI\". With AI-generated art causing controversy, I thought it might not be the best look as I plan to expand my activities overseas.<\/p>\n\n\n\n
\u2014Understood...<\/h4>\n\n\n\n
But by simplifying my name to just \"nina\", I felt ready to compete purely on my own merits. The timing with the exhibition felt right.<\/p>\n\n\n\n
\u2014Having ventured into various forms of expression this time, how do you feel about it?<\/h4>\n\n\n\n
As I mentioned earlier, I\u2019ve always felt discomfort with continuing only with digital expressions. This exhibition was a good opportunity to establish my axis as an artist.<\/p>\n\n\n\n
From early on, I didn\u2019t want to be confined to a specific genre of artist. That\u2019s why I started showing my face and engaging publicly early in my career. More than just appreciating the art, I want people to understand me as a person and then see the work that emerges from that. This exhibition was a realization of that vision.<\/p>\n\n\n\n
\u2014What are you looking forward to trying next?<\/h4>\n\n\n\n
I strongly felt the desire to do more self-initiated exhibitions. I want to continue challenging myself with large paintings and sculptures. I also want to create original short animations.<\/p>\n\n\n\n
Of course, music videos and artwork remain crucial aspects of my activities, so I will continue with those. Balancing client work and self-directed projects, I have many things I want to pursue in both areas, so I hope to keep moving forward on both fronts.<\/p>\n\n\n\n
\"nina\"
@Ittetsu Matsuoka<\/figcaption><\/figure>\n\n\n\n
\n\n\n\n
    \n
  • Text by Tomoya Matsumoto<\/li>\n\n\n\n
  • AfterBirth photos by Ryo Yoshiya<\/li>\n\n\n\n
  • Artist photos by Ittetsu Matsuoka<\/li>\n<\/ul>\n","protected":false},"featured_media":501,"template":"","class_list":["post-560","special_feature","type-special_feature","status-publish","has-post-thumbnail","hentry"],"yoast_head":"\nDigital is not a "lie" - an interview at nina's first solo exhibition "AfterBirth" - New Gallery<\/title>\n<meta name=\"robots\" content=\"noindex, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Digital is not a "lie" - an interview at nina's first solo exhibition "AfterBirth" - New Gallery\" \/>\n<meta property=\"og:description\" content=\"In March 2024, nina held her first solo exhibition "AfterBirth". She has been exploring the sensations of people oscillating between the virtual and the real, and between information and the physical, through her unique expressions. Having focused on digital as her main battlefield, in this exhibition she has ventured into new forms of expression, including […]\" \/>\n<meta property=\"og:url\" content=\"https:\/\/staging.newgallery-tokyo.com\/special_feature\/nina-afterbirth-interview\/\" \/>\n<meta property=\"og:site_name\" content=\"New Gallery\" \/>\n<meta property=\"article:modified_time\" content=\"2024-05-22T00:55:36+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/staging.newgallery-tokyo.com\/wp-content\/themes\/newgallery\/images\/ogp_newgallery.png\" \/>\n\t<meta property=\"og:image:width\" content=\"692\" \/>\n\t<meta property=\"og:image:height\" content=\"854\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data1\" content=\"14 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\/\/staging.newgallery-tokyo.com\/special_feature\/nina-afterbirth-interview\/\",\"url\":\"https:\/\/staging.newgallery-tokyo.com\/special_feature\/nina-afterbirth-interview\/\",\"name\":\"Digital is not a \\\"lie\\\" - an interview at nina's first solo exhibition \\\"AfterBirth\\\" - New Gallery\",\"isPartOf\":{\"@id\":\"https:\/\/staging.newgallery-tokyo.com\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/staging.newgallery-tokyo.com\/special_feature\/nina-afterbirth-interview\/#primaryimage\"},\"image\":{\"@id\":\"https:\/\/staging.newgallery-tokyo.com\/special_feature\/nina-afterbirth-interview\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/staging.newgallery-tokyo.com\/wp-content\/uploads\/2024\/04\/iv_nina_01.jpg\",\"datePublished\":\"2024-04-11T08:15:15+00:00\",\"dateModified\":\"2024-05-22T00:55:36+00:00\",\"breadcrumb\":{\"@id\":\"https:\/\/staging.newgallery-tokyo.com\/special_feature\/nina-afterbirth-interview\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/staging.newgallery-tokyo.com\/special_feature\/nina-afterbirth-interview\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/staging.newgallery-tokyo.com\/special_feature\/nina-afterbirth-interview\/#primaryimage\",\"url\":\"https:\/\/staging.newgallery-tokyo.com\/wp-content\/uploads\/2024\/04\/iv_nina_01.jpg\",\"contentUrl\":\"https:\/\/staging.newgallery-tokyo.com\/wp-content\/uploads\/2024\/04\/iv_nina_01.jpg\",\"width\":692,\"height\":854,\"caption\":\"nina's first solo exhibition, \\\"AfterBirth,\\\" an interview\"},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/staging.newgallery-tokyo.com\/special_feature\/nina-afterbirth-interview\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"\u30db\u30fc\u30e0\",\"item\":\"https:\/\/staging.newgallery-tokyo.com\/en\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Special Feature\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/staging.newgallery-tokyo.com\/#website\",\"url\":\"https:\/\/staging.newgallery-tokyo.com\/\",\"name\":\"New Gallery\",\"description\":\"\",\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/staging.newgallery-tokyo.com\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"en-US\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Digital is not a \"lie\" - an interview at nina's first solo exhibition \"AfterBirth\" - New Gallery","robots":{"index":"noindex","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"og_locale":"en_US","og_type":"article","og_title":"Digital is not a \"lie\" - an interview at nina's first solo exhibition \"AfterBirth\" - New Gallery","og_description":"In March 2024, nina held her first solo exhibition \"AfterBirth\". 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