My tentative plan for Mondays (hopefully eventually every other day, after) is to throw down some art that inspires me/my work and introduce you to their respective artist.
The idea is for this blog to return to its roots or some similar derivative.
As my plan is to push more of my work in progress on the social media platforms and reserve the blog more so, as a space to actually see what’s influencing my creative process.
So to kick this off, I present to you…
It might not be entirely accurate to describe Toshio Saeki’s work as proper “porn,” but his nightmarish prints (created using a modernized version of a traditional Japanese woodcut technique) are certainly erotica. Saeki actually quit his job at a Tokyo ad agency at the age of 24 and started working at men’s magazines. His art developed a following during the sexual revolution of the 1960s, and by the time his horror erotica was first published in 1970, older genres of Japanese pulp—like Ero Guro Nansensu(“erotic, grotesque, nonsense”)—were getting popular again. Saeki explained his philosophy in a 2013 interview with Dazed:
Let me put it this way: leave other people to draw seemingly beautiful flowers that bloom within a nice, pleasant-looking scenery. I try instead to capture the vivid flowers that sometimes hide and sometimes grow within a shameless, immoral and horrifying dream.
Often referred to as “the godfather of Japanese erotica.” Saeki is a septuagenarian today, still living and working in rural Japan, pleased to see his art embraced by new generations of fans.
I’ve been a fan of this Toshio’s work since I learned of it, I think last year. It’s most certainly reminiscent of the old Japanese Woodcut print aesthetic. Coupled with its surreal and irreverent disregard for the viewers sensibilities.
It’s right up my alley, this.
Now that my recollection of his work’s existence has been restored.
While the modern Japanese Woodcut aesthetic employed in creating his work is certainly reminiscent of that, of the old style, some of the prints in some ways remind me of the panels in Herge’s, Tintin books.
It’s actually giving me some new ideas and changing a few existing ones. One’s that might entail me starting a whole new series of illustrations, in a similar vein to my Tintin In Tatts series.
But not before the Tintin series is complete.