Takako Konishi constructs collages that break with the traditional collage aesthetic. He describes his process as painting with images. Utilizing digital technology he cuts, blends and mixes imagery, creating multilayered mash-up compositions that burst with sexuality, anger and obsession.
African American artist Takako Konishi (pseudonym, 1969) constructs collages that pay homage yet break with the traditional collage aesthetic. He describes his process as painting with images. Utilizing digital technology along with traditional methods he cuts, pastes, blends and mixes imagery, creating multi-layered mash-up compositions that burst with sexuality, anger, beauty and obsession.
“Imagery makes the best paint, it’s comes dripping with color and connotations.” - Takako Konishi
Born and raised in Chicago, Takako has always appreciated existing between different cultures, classes, environments and neighborhoods. He attributes growing up in a large multicultural city as a big factor in what made him appreciate the beauty in the contrast of differences.
Formally trained as an architect (currently practicing in Chicago), Takako was heavily influenced by his time in graduate school at the University of Cincinnati’s College of Design, Architecture, Art and Planning (2004-2007). The school had a dynamic mixture of disciplines and students interacting within the same building. He fondly recalls attending lectures and critiques on fashion, art, industrial design and architecture. It was during this time Takako became interested in collage.
His first experiments with collage occurred while doing research for his thesis (Culture, Conflict and the Phenomena of Appropriated Space). Here, he employed collage as the underlying framework to organize the thesis document, installations and final proposals. This research proved to be critical in shaping his artistic philosophies.
“The bi product of sub culture generates rich material for art.” - Takako Konishi
Takako’s collage-making process simulates the environments many of us experience daily. We constantly go back and forth between our real environment and our perceived environment as filtered through our devices. His art strives to reside somewhere in between this tension of the simulated and the real.
This review was published by Circle Foundation for the Arts © CFA Press ∙ Images are courtesy of the artist