Yoshimoto Nara's Knife Behind Back: Discerning the Intangible
What could be frightening about a little girl standing innocuously in a childish red dress with a chubby-cheeked face, a short bob, and big eyes?
What could be frightening about a little girl standing innocuously in a childish red dress with a chubby-cheeked face, a short bob, and big eyes? Yet, take a closer look, and the little girl with a sneaky, Machiavellian expression hides something behind her back. The title of the painting, Knife Behind Back, reveals the reason for her determined look. The illustration of the young girl exudes an unsettling contrast between her age and her misdeed. Through this piece, Yoshimoto Nara conveys the importance of examining what lies behind mere appearances because they may not tell the full story.
Nara, a pioneering contemporary artist, was born in Hirosaki, Japan, in 1959 and studied fine arts at Düsseldorf Public Academy and Aichi Prefectural University; he then began his career in the 1990s. A pop icon, Nara amalgamates mainstream Eastern and Western culture, integrating features of both Japanese manga and American cartoons. Nara utilizes soft-hued colors with bold lines, as seen in popular manga, and finds beauty in simplicity.
When asked about his future aspirations, he explained, "I would liken my journey to a road movie that starts with the emergence of the ego of an art student through their work, then continues in the darkness of the night." Indeed, Nara continues to walk into unknown realms of art, and the unparalleled Knife Behind Back is an artistic creation filled with enigmatic aura.
Nara's Knife Behind Back exhibits an iconic vision similar to that of Roy Lichtenstein's blonde bombshells and Andy Warhol's Marilyns. In his works, violence is omnipresent, though subtly, and forms a striking contrast to the little girls and the comical animals that act as the main subjects of his paintings. These characters in Peter Pan collars are generally marked with malicious intent. The equivocal nature of his simultaneously sweet and sinister characters ensures that there is an imperative 'something' underlying each of his works.
As Nara's style promotes a language redolent of manga, anime, and cartoon, it is easy for viewers to make appearance-based associations. However, the artist reveals the true meaning of Knife Behind Back through the title and the absence of the referenced knife: observers should look beyond first impressions and focus on the intangible. "I'm convinced that I am mainly influenced by invisible elements. Beneath the surface of the visible lie many things that remain imperceptible," Nara said.
In addition to the missing knife, other intangibles, such as emotions, guide Nara during the creative process. By emphasizing the wayward naïve aggression within the little girl, Nara highlights the importance of emotional resonance in his piece. When we meet the eyes of Nara's Knife Behind Back, anger, vexation, and loneliness are glaringly apparent––an indication that we must not shun but face these troubling sentiments.
His focus on intangibles leaves a sort of ambiguity within his artwork, leaving those work open for personal resonance and interpretation. "I feel like my means of expression does not aim to reveal an issue to society or to educate the public. I often wonder what people would think about if the world was ending tomorrow. If that day were to arrive. What I try to do is perhaps to create a painting that allows everyone, including me, to cope in such a circumstance."
Confronted by a childish figure in a cutesy dress, Nara forces us to meet her penetrating gaze and to open our eyes to fathom the painting's hidden layers. By considering not only the title, but also the emotion-evoking nature of his work, we can see what lies beyond the visible.