interview: Mr. examines tensions between fantasy and reality in japanese otaku culture

mr. delves into japanese otaku culture

For over two decades, iconic Japanese artist Mr. has been crafting a multilayered visual world at the intersection of anime, manga, and cultural critique, examining the tensions between fantasy and reality in Japanese youth culture. His latest exhibition, Those That Bring Color to Life and Living, marks his debut UK solo show, building on his previous explorations in New York of both the intricacies and the joys of Japanese culture. In our previous conversation, Mr. explained how he draws multisensory inspiration from ‘anything and everything’ in his country:‘Everything I create is about my surroundings and the environment around me: from my daily activities, to all the logos and signs in the city, and all sorts of symbols.’

Across the space at Lehmann Maupin’s pop-up gallery in Mayfair, London, the artist’s vibrant blend of high art and pop culture bring to life the complexities of Japanese subcultures — particularly otaku. Further, a fascination with the escapist world-building of postwar Japanese youth culture defines Mr.’s work — a theme he explores through signature bold, shaped-canvas paintings depicting characters with wide-eyed wonder. These figures, reminiscent of anime and manga styles, are backdropped by collages depicting every day Japanese iconography, from popular advertisements to cultural symbols, reflecting a society grappling with consumerism, fetishization, and nostalgic idealism. ‘I took the idea from cubism, trying to capture different angles and perspectives in one flat image,’ he shares with designboom during our recent interview. ‘There are so many details that unfold when you give the painting a closer look and time plays an important role: the longer you look, the more you discover.’

all images courtesy of Lehmann Maupin

a new exhibition at Lehmann Maupin in Mayfair

Rooted in the Superflat movement pioneered by Takashi Murakami, Mr.’s art — which spans paintings, sculptures, and works on paper — is also as much a mirror of Japanese society as it is a personal diary, revealing his evolving relationship with otaku culture. Once stigmatized, otaku has since become a celebrated aspect of Japanese identity, a shift that the Japanese artist reflects on with a mix of pride and nostalgia. ‘People now feel more proud about watching anime… While it’s easier to exist as an otaku now, I sometimes miss that feeling of being part of a misunderstood minority,’ he adds.

Embracing this identity through his new exhibition with Lehmann Maupin’s London gallery, Mr. offers a western audience a rare glimpse into the intimate fabric of Japan’s cultural landscape, positioning his own work as both an insider’s commentary and an invitation to uncover the extraordinary within the ordinary in a global context. Read our full conversation with the artist below.

Mr. presents the exhibition, Those That Bring Color to Life and Living

interview with MR.

designboom (DB): Your first UK solo show is opening at Lehmann Maupin’s Cork Street pop-up in London. What are you most excited to showcase?

MR.: I first exhibited in the UK about ten years ago at Frieze London, and I’ve always wanted to come back. It’s a very important place in art history and the art market, so I’m very happy to come back to show my work again, this time with Lehmann Maupin.

I always check online auctions and I’ve noticed that there is definitely more street art and graffiti art in auctions recently. However, it is still a bit unusual to see anime and manga in the London and New York art scenes, so hopefully this will bring something fresh to UK audiences.

I’m very excited about showing Paths Are Made by Walking — Chasing Dreams with Buddies. The first thing you see is a big yellow head, but as you move closer, you’ll see moments from everyday Japanese life — ordinary advertisements and cultural items. There are so many details that unfold when you give the painting a closer look and time plays an important role: the longer you look, the more you discover.

hosted at Lehmann Maupin’s pop-up gallery in Mayfair, London

DB: What new directions are you exploring in this upcoming exhibition? Can we expect any departures from your previous work or new stylistic experiments?

MR.: Nothing particularly new, but it is a new attempt at making shaped canvas pictures. Previously, it’s always been a shape canvas for each character. Now for the first time I’m trying a single canvas with multiple characters on it. I took the idea from cubism, trying to capture different angles and perspectives in one flat image. I also wanted to continue my motive of exploring ordinary Japanese life, focusing on the contrast between rough and the detailed drawings.

a multilayered visual world at the intersection of anime, manga, and cultural critique

DB: Anime and manga are central to your work. Are there any contemporary anime series or manga artists that are inspiring you today?

MR.: There are so many things that inspired me today, especially series on Netflix and Amazon that are popular globally, and not just in Japan, like Demon Slayer. I see manga and anime as a global phenomena beyond the Japanese domestic scale. I particularly enjoy when fictional anime and manga stories are set in real places, like Sound! Euphonium which is inspired by real towns. I’m really enjoying it.

DB: How has your relationship with these subcultures evolved over the years? Has your perspective on otaku culture changed since you started?

MR.: About 20 or 30 years ago, if you liked anime or manga, you would be considered otaku. There were lots of negative prejudices around this, and it’s something you would try to hide it and feel a bit embarrassed by. Being otaku is a lifestyle, it’s not just about enjoying anime or manga, but it also affected how you dress or your hygiene, for example.

Gradually, it’s become more acceptable and almost like a hobby category; people no longer associate dirt with otaku. People now feel more proud about watching anime, and some even put it in their CVs. They are embracing it as part of their identity, how they are. Personally I feel both happy and a bit nostalgic about this change. While it’s easier to exist as an otaku now, I sometimes miss that feeling of being part of a misunderstood minority.

collages depicting every day Japanese iconography

DB: Where do you see your work heading in the future? Are there any particular themes or concepts you’re eager to explore that you haven’t touched on yet?

MR.: I don’t want my themes or concepts to change too much. As I’m getting older, I want my work to continue reflecting society as it is, holding up a mirror to the world around me.

But I am interested in creating more 3D sculptures — perhaps a very large one, like 10 meters. I would also like to experiment with wood carving, and I’m also exploring the idea of working in film, animation, and performance art.

Mr.’s art is as much a mirror of Japanese society as it is a personal diary, revealing his relationship with otaku culture