After an extensive and rewarding dialogue, ARCHIVE.pdf is excited to release the first portion of our interview with Japanese artist [Suzume Uchida](https://suzumeu.tokyo/). In her relatively short painting career, Suzume Uchida has drawn international acclaim for her unflinching, autobiographical approach to painting. Her work pierces the psyche with a distinctively human sense of intimacy, making it both thought-provoking and moving. She is also renowned for her ongoing collaboration with Yohji Yamamoto, which has seamlessly adapted her paintings to a new medium. 

Our conversation with Suzume-san ranges from her background and artistic approach to her thoughts about fashion and attitudes towards collaboration. Due to the quantity and quality of responses we received, we have decided to publish this interview in 2 parts. Read the full text of our interview below:

**Hello Suzume-san, we hope that you are doing well. For the first question, we’d like to begin with a discussion around your background. At what age did you take up painting, and when did you decide to pursue art as a career? Was art always your principal passion, or did you have other intense interests when you were younger that tapered off as you grew older? Also, what influence did your family life have on your development as an artist?**

I have loved to draw and paint since I was a child. I think my first encounter with art was Pierre-Auguste Renoir's 'Portrait of Mademoiselle Legrand' when I was eight years old, and Van Gogh's blue self-portrait, which I saw at the Musée d’Orsay when I was thirteen. When I was in junior high and high school, I published my illustrations on the internet and interacted with professional illustrators. Finally, when I was fifteen, I decided that I wanted to do something related to drawing as my career.

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When I finished junior high school, I talked to my parents about my desire to go to art college, but they were very opposed. I continued to persuade them and managed to get them to let me go to an art preparatory school. However, when the lecturers gave me critiques of my paintings, I felt rejected and cried after every lecture. I gave up painting at the age of 17, thinking that I would never be able to make a career out of it because I was such a weak person.

Later, I studied design at university. I chose to study design as opposed to painting because for me, painting is like a direct manifestation of my own mind – whenever my art is ridiculed, it hurts me on a personal level. On the other hand, design involves many elements such as planning, ideas and rhetoric. So, with design, even if things go wrong at work, I wouldn't feel as if I was being attacked directly from the heart. Then, I got a job in advertising, but because I was inexperienced, I couldn't live up to the demands of the position. My health was also deteriorating, so I chose to quit the job.

When I was lying in bed thinking about what I wanted to do with my life in the future, I happened to find a painting by a wonderful artist on my phone. When I went to see his exhibition, I was impressed by the artist who was roughly the same age as me and was desperately trying to pursue the path of painting that I had given up on. After seeing this exhibit, I was motivated to collect more art and try modelling for painters, and it made me realize that I wanted to give painting another chance. Then, I painted one or two pieces that led me to where I am now.

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I am grateful for the family I grew up in, but I also wish it had been better. I think the fact that I didn't get much praise made the hole in my heart bigger and bigger. However, it is precisely this hole in my heart that led me to choose art as my career. 

**How did you find your personal painting style, and how do you continue to evolve that style in the present day? What drew you towards realism over abstraction, and have you spent time experimenting with other methods in the past? As an artist, do you think being consistent in your aesthetic values is a valuable limitation of scope, or can it lead to a lack of inspiration if pushed to an extreme?**

I just draw and try to express my ideas, and repeat the process. At the moment I mainly work with pencil and oil, but I have experimented with different materials such as watercolour, pastel, Japanese ink and sumi ink. I think this trial-and-error process will continue for the rest of my life as I try to find the best expression that suits me, both in terms of technique and materials.

I feel that the reason I stuck to realistic expression was because I had an urgent feeling that I had to document my experiences. For example, in the work depicting the dead pigeon, I chose a realistic technique and sharply drew the details because I felt a sense of responsibility to preserve the memory of my pet, as I was the only one who could leave it behind in the picture. But as the days with the dead pigeon became more distant, my brushstrokes became softer and blurred. Perhaps it is the invisible things that are most important. For now, what comes back to me is not the image of my pigeon as it died, but the image of it as it flapped its wings in good health. 

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These tender memories now surround me, which is probably why my brushstrokes changed from being fine and sharp to being soft, fuzzy and blurry. Although it would still be called realism, changes in brushstrokes alone may give the work a very different impression. It seems that the changes in my own feelings have a direct effect on my paintings. I also recently completed an abstract blue work that looks like the sky and the sea. I think this painting is the result of an overflow of unspoken and invisible thoughts. 

I believe that when life changes, painting changes too. It is wonderful to stick to one thing, but I believe that as long as you are consistently devoting time to your art, any changes that occur are natural.

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What are your thoughts on the concept of collaboration between the art world and fashion world? When you discuss this topic with other artists, do you find that they are generally receptive to the idea or are they hesitant to consider working with fashion designers? 

A painting that is displayed on a canvas does not move. But if a painting is applied to clothing, the cloth will sway in the wind, causing the design to change. It is as if the appearance of the painting is that of a wavering soul. I am happy that my paintings seem to have a new life. I am also grateful for the opportunity to let many people know about my art through [my ongoing work with Yohji Yamamoto](https://wildside-online.com/shop/r/r6004/).

Our collaboration started in 2017. From then until now, we have been devoting considerable time to this project. During this time, many people, both artists and gallery owners, have been very receptive. Many people who were not previously interested in art and painting have started to come to my gallery exhibitions. I think it would be good if artists and galleries explored more opportunities outside of their ecosystem, because a creative collaboration can lead to great outcomes. 

The success of our project would have been impossible without the customers that wear and appreciate our clothing. Their continued support has built a great sense of community around the work, and it is a sign that our collaboration feels genuine in the eyes of the public.

**In your opinion, what are some good principles for both the artist and designer to follow to ensure that a collaboration is successful and mutually fulfilling? And to add on to the previous question, how do you personally define success in a collaboration between an artist and a fashion brand?**

For a meaningful partnership, I think it is important that designers and artists can have a heart-to-heart conversation. If they are reserved, the work will be half-hearted. It's important to respect each other and have honest conversations about what you want to do and what you don't want to do.

When it comes to successful collaborations, people tend to focus on sales and sell-outs. But I like to take a longer-term view and consider more than just the immediate results. Is the work really good? Does it have a greatness that will last and be appreciated by future generations? These are important questions to think about. If the work is great, the collector will take good care of it for decades. Success may be defined by whether the work remains relevant after our death.

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Why do you choose to incorporate elements of Japanese history and your identity as a Japanese woman into your art? What is the significance of the past to your artistic practice, and how do you think the past interacts with the present and future through art?

I incorporate Japanese history and female identity into my work because they are real to me. I don't consciously try to include them, they are naturally reflected in my work. This is because I am a documentary artist. I value the honesty of my own original experiences in my work, without any pretense. Because I believe that real experiences are what move people's hearts.


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As long as people are people, I believe my work will move someone's heart, even 100 or 200 years from now. It might even save them. I think that the “real things” in this world will remain the same, past, present or future, and they will always have the power to touch people's hearts. Genuine works of art should be loved beyond time, and I want to keep striving to make work that feels universal. I think it is my mission to continue to search for the real and to preserve it in my paintings.

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Suzume Uchida unveils the dark allure of monsters, demons, and the raw emotions behind her art.

Monsters & Demons: An Interview with Suzume Uchida, Part 1

Suzume Uchida’s startlingly original artwork is an antidote to emotionlessness. With every painting she creates, her stated goal is to connect with the viewer, giving them the inspiration to express hidden feelings. This motivation is the fuel for her artistic practice, and it provides a robust backing to her art, pairing execution with concept to form [a highly compelling body of work](https://suzumeu.tokyo/).

Earlier this week, ARCHIVE.pdf released the first part of our interview with Suzume-san, and we had an in-depth discussion about who she is as an artist and person. After receiving the responses to the first part of this interview, our team felt that there was much more to discuss, so we created a second round of questions designed to build upon the themes introduced in the first portion. 

In the second installment of the interview, we opted to take a more rapid-fire approach with relatively brief questions, delving further into specific aspects of topics from the first interview. For the sake of understanding, it is highly recommended to read the first part before the second. Read the full text of our conversation below.

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**When researching your artwork, I noticed that self-portraits frequently appear in your paintings. What are some of the main reasons why you frequently choose yourself as a subject?**

For me, I am the closest to myself. I believe that authentic work can only come from authentic experience. Self-portraits are common in my work because my own experiences tend to feel realistic. Also, when I first started painting, the easiest thing for me to observe was my own body. However, I have recently begun to paint more than just self-portraits, it feels like my world is expanding.

**For you, has painting self-portraits led to personal growth? Do you find that you learn new things about yourself by displaying deep feelings in front of a large audience through your art?**

Drawing self-portraits is a process of growth and discovery. For me, creating these works is a way of reconnecting with my old self. Drawing allows me to have a dialogue with who I was in the past, and it enables me to see what really made me sad back then. This leads to an understanding of genuine human feelings. In painting I am able to sublimate old memories that I could not let go of. The feedback I get from people who see my self-portraits is often very personal and rooted in inner thoughts that I would not normally discuss with others. I believe that by revealing my inner self I can open the hearts of others and encourage them to do the same.

**How does feedback from others influence your work? How do you generally react to compliments, and how do you generally react to criticism?**

Feedback often encourages me. For example, I have a piece called “The Heart” which is of a pigeon I had that died. At the time I felt guilty about painting the dead pigeon, but I wanted to paint it anyway. One day a viewer said to me: "This is a gift from the pigeon. It thanked you for keeping it until now and it gave you the opportunity to paint a wonderful painting". Those words saved me and I am still able to paint my pigeons.

I learn a lot from criticism. I am grateful to my colleagues and friends who give me concrete suggestions for improvement and share their personal ideas. However, I am not really influenced by anonymous criticism on the internet. This is because it is difficult to exchange in-depth opinions without knowing the identity of the other person.

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Can you tell the story of your collaboration with Yohji Yamamoto? How did it first emerge and what is the current dynamic between you and the brand? Do you feel like the relationship you currently have is similar to when the collaboration started, or has it evolved in certain respects?

In the spring of 2017, I suddenly received an email asking if I was interested in working with Yohji Yamamoto POUR HOMME. At the time, Yohji Yamamoto's studio had a proposal to print women's faces on clothes, and they were looking for illustrators and painters who could draw women with a realistic touch. Out of all the candidates, Mr. Yamamoto chose me. I was very lucky. I was quite surprised when they used clothes with my drawings on the runway for [that season's collection](https://www.vogue.com/fashion-shows/spring-2018-menswear/yohji-yamamoto#review), and my art was even featured on the final look.

I think our relationship is far deeper now than it was at the beginning. In our previous collaborations, most of the works were drawn in response to requests from Mr. Yamamoto. However, with my latest work, [“Praying Hands”](https://wildside-online.com/shop/r/r6004/), we were able to realise a collaboration based on my own personality. I think the trust and mutual understanding we have developed over the years has led to these new works.

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**When you undertake the act of painting, do you follow a routine or include variations on your approach? Could you describe what a typical day of working on a project looks like for you?**

I don't have a set routine. I spend my time according to how I feel. For me, the most important thing in painting is "What do I want to express? What is most important to me when I paint? What is most important to me at the moment? What do I want to leave behind or tell the world? What do I want to remember?" I ask myself these questions again and again. Or I cherish the thoughts that come impulsively to me, using them to guide me towards inspiration. 

After this kind of thinking I will finally start to paint. There are days when I can paint all day if I decide what I want to paint, and there are days when I feel depressed and can't hold the brush.

**How do you feel about the major role an artist’s image plays in the perception of their art, especially in modern times? Do you see marketing yourself as a distraction or a necessary process for an artist to be successful? Over the course of your career, how have you been able to find a balance between managing your image and making the best possible work?**

If the image that appears on the surface is deliberately created by others, I find it false and boring. But artists who make interesting work are often interesting people when you meet them and talk to them. So if the image is naturally formed by the artist, it can be a clue to understanding their work.

Personally, I have never been conscious of image-making. I just focus on putting effort into my artwork. Even though I don’t obsess over my public perception, I have been lucky enough to collaborate with fashion brands and have more opportunities to appear in the media. It is a chance for a lot of people to get to know me.

With the advent of social networking, image building has become more of a focus. That's why, if you're interested in an artist who's still alive, you should try to visit one of their shows and speak to them. That way you can see the true image of the artist, not the image that has been created.

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**Have the business pressures of being a professional artist ever deterred you from continuing on your path? Does the pressure to make work that sells occasionally weigh down your creative process?**

It has been nine years since I started painting and exhibiting in galleries, but in the beginning there was a lot of pressure. My first solo exhibition sold out, which made me nervous for future exhibitions because I worried about being unable to sustain that success.

Ultimately, business doesn’t concern me because I paint for my own salvation. If the work I paint to save myself can save someone else's heart, then I feel it was worth being born into this world. Every time I paint, I have to face myself like that, so I don't consider the commercial appeal when creating art, and I probably couldn't.

**Why do you think personal style is (or is not) important? What is your relationship to the clothes you wear, and how is your style connected to your identity as an artist?**

I think it's wonderful when people wear clothes they like without being influenced by their surroundings. I appreciate this same sense of individuality in people who create art. I like people who unapologetically do what they love, and I aspire to be more like them. Fashion style can be one of the clues to understanding a person because it is highly visible. But in the end, I think the work is everything, so artists should not worry too much about fashion. It’s best for them to dress and live the way they want to.

I started wearing Yohji Yamamoto’s designs after working with him. I feel a tremendous sharpness in Yohji Yamamoto's clothes, like a Japanese sword. When I wear them, I feel confident, so I end up wearing them at exhibitions. When I wear soulful clothes, I also feel that I have to work hard with passion. For me, fashion is something that cheers me up and encourages me.

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Suzume Uchida delves deeper into the grotesque beauty of fear, vulnerability, and the spirits that haunt her art.

Diana Shi

Translators

Monsters & Demons: An Interview with Suzume Uchida, Part 1

Monsters & Demons: An Interview with Suzume Uchida, Part 2