Perrotin is pleased to announce “BADA BING, BADA BOOM”, the first
ever solo exhibition of MADSAKI. This occasion will mark the first
opportunity to see the full range of works by MADSAKI in Seoul, Korea
New works will be featured in the exhibition, including works based
on scenes from classic American films popular among Koreans such
as Roman Holiday, Léon: The Professional, Rebel Without a Cause,
Gone With the Wind, Indiana Jones and Sound of Music.
In addition, the Self-portrait and Flower Series by Andy Warhol, as well
as new works from MADSAKI’s Character Series, an assemble of
American and Japanese characters, will also be on view. MADSAKI,
a master of spray paint, uses the paint splashing nozzle like a brush,
a technique which ultimately yields wild, yet delicate works.
At an early age, MADSAKI moved to the U.S from Japan. Upon arrival at
John F. Kennedy International Airport, he observed and was impressed by
sights of graffiti scattered throughout New York’s neighborhoods. This
environment, energized by a proliferating and eclectic street art scene
seemingly threatening to engulf the cityscape, became his passion.
After graduating from Parsons School of Design, he worked as a bike
messenger, constantly traveling around town making deliveries. Eventually
he joined The Barnstormers, a group of artists mainly from New York
and Tokyo, who actively collaborated on paintings, videos, performances
and other forms of art production. He experimented and began to develop
his unique means of expression. After returning to Japan, he began to draw
slangs on canvas using spray paint, the medium favored by graffiti writers.
Spray paint is a powerful tool that injects and peppers paint, allowing
Graffiti artists to quickly cover huge walls or storefront shutters
and billboards, or sides of subway trains with large letters a few meters
wide. The paint that scatters through the air under pressure does
not require any physical contact with its user, irregardless of whether
the surface flat or uneven. Ordinarily, it would be considered a violent
act to use spray paint on a canvas which is more often appropriate
for delicate paintings displayed indoors. Yet the enticing attraction
of the motifs in MADSAKI’s works seem familiar and are strongly
tied to the details that reside within those spattered paint particles.
“I prefer dripping or grimy lines to clean lines. I really do not try
and paint finely at all. There are way too many people who are good
at painting beautifully. I’m happy to leave that up to them. If you overdo
your spraying, you get something that is too flat. So I intentionally
use stencil caps, and also overlay paint on the background to give texture.
I am painting with spray, not with a brush,” says MADSAKI.
Letters and characters drawn by graffiti writers have the power
to agitate the urban system, which single-mindedly repeats production
and transmission, especially when what is drawn has no specific
meaning or message. Upon viewing an image by MADSAKI, our mind
is shaken; by his use of lines and colors that seem to make his works
resemble the originals on which they are based, and by his use
of splattered and dripping paint (in some works paint is dripping form
the eyes of the character!). MADSAKI uses stencil caps to create
his desired images - paint is injected as a fine line, yet those dispersing
paints, carrying a stream of air, are precisely the noisy process
of an image invading an information-orientated society.
MADSAKI was discovered by Takashi Murakami, while surfing
Instagram for images. MADSAKI reinterprets masterpieces of the
past, such as those of Henri Matisse, with spray paint. Similarly,
MADSAKI has collaborated with Murakami as seen in his series
“Homage to Takashi Murakami Flowers”, which depicts
Murakami’s “Flower” with spray paint. Seeing the pictures of
MADSAKI’s wife that he usually uploads on Instagram, Murakami
suggested that MADSAKI paint his wife. Thus, the “Wife” series,
in which MADSAKI’s wife is portrayed in natural postures wearing
a kimono in an “autobiographical” style, was born.
Using motifs that is familiar and somewhat well-known the images
created by MADSAKI that initially draws viewers in will leave them
filled with feeling akin to being struck by a noise-like dynamic
impulse. The reason for these intimate motifs possessing
attributes that one just takes in with a light heart is probably
because one is enticed by MADSAKI’s (very pure?) process of
“painting”. “I can’t draw a face. So, would a Smiley Face do?”
says MADSAKI. He arranges a flowage of images easily and
brings them to life - BADA BING, BADA BOOM! His dynamic use
of jetting paint tool, in such wild yet delicate strokes, invigorates
the thin surface of painting, and its noisy vibrancy of the impulse
never ceases to excite us living in this world of informationorientated
world. You are invited to stand in front of the genuine
works, experience MADSAKI’s painting process and spend some
time on a journey tracing his footpath.