Mai Yoneyama Interview: Expressions of a New Era Seen Precisely Because She Continues to Be an Animator
Artist Mai Yoneyama discusses her origins as an animator, her fusion of digital and analog art, and her commitment to inheriting Japanese animation culture.Summary
This interview with artist Mai Yoneyama, who works across animation, illustration, and fine art, centers on her new solo exhibition, “YONEYAMA MAI EXHIBITION ‘arc’,” and her creative philosophy. Yoneyama was inspired to become an animator after seeing the high level of artistry in an illustration collection featuring figures like Koji Morimoto and Hiroyuki Imaishi, leading her to study hard-line animation like 'Patlabor 2' and 'Ghost in the Shell,' emphasizing precise anatomical drawing. Her career transition began after designing characters for 'Kiznaiver' and gaining independent funding, which solidified her belief that she could pursue both animation and illustration simultaneously, especially after directing and animating the ending sequence for 'Darling in the Franxx.' As an artist, she initially focused on UV prints, a technique she favored for its ability to realize the texture of her digital illustrations, but recently began incorporating more physical, hand-drawn works (acrylic on canvas) to explore new expressive methods and counter the potential commodification of UV printing. The current exhibition, “arc,” explores the themes of “time” and “continuity,” using animation techniques like visual guidance to create a sense of movement even in static pieces. Yoneyama explicitly aims to establish her identity as an artist who handles 'time,' stemming from her background in animation. Furthermore, she expresses a strong sense of mission to uphold and elevate Japanese animation culture, which she feels is undervalued domestically despite its global popularity. She hopes that by bridging the worlds of illustration and fine art, she can help audiences appreciate the technical depth and directorial intent behind commercial animation.
(Source：美術手帖)