Yoshitomo Nara, the newest exhibition at the Hayward Gallery, is a testament to over two decades of work coming from the Hirosaki-born Japanese artist. Visitors are invited to explore a vast collection of the 65 year old’s work, from pieces completed just last year, to ones that come from decades before.
Upon entering, viewers are immediately struck by My Drawing Room 2008, Bedroom Included (2008), an colourful house that is as intricately detailed in the inside as on the outside, as though inviting attendees to consider that we are now in Nara’s home and world. From there, a large wall of records and blocks of smaller frames laid out haphazardly helps to craft the notion that we are truly within the artist’s mind, the scatters of works like smatterings of his contemplations, eternally captured in time.
If the initial rooms serve as an introduction to Nara’s inner being, the first floor presents the majesty and scale that such thoughts lead to; the spaces of the Hayward become a cathedral as sculptures take centre stage with large paintings and works given space to breathe against the white or blue of the walls.
Descriptions are generally spread out at considerable distance from the pieces themselves; close enough to still prescribe meaning, but far enough to pull focus away from the works. It is as though Nara invites audiences to bask in his pieces and interpret as suits them, for the art itself to exist first within the mind of the viewer before being distracted by his intentions.
Throughout the exhibition, Nara’s own reflections on humanity, war and identity stand out, and it is notable that Peace Mark (2004), a large peace symbol that hangs high like a sun above the entrance and exit, was created but fifteen years before his iconic Stop The Bombs (2019) piece and seven before the equally striking I AM Right Wing, I AM Left Wing, Feelings Are Leaning a Little to the Right, Wavering to the Left (2011). Commentary throughout gives you sense of Nara’s ideological explorations and thoughts on the violence and tension that pervades our everyday lives.
There is a reason, beyond his style of art that dances in the space between the cute and the arresting, that Yoshitomo Nara’s work captures so many hearts and minds today. It taps into the ever growing need for us to feel comfort in today’s trying times, yet with a manner that also reflects the unease and disquiet that our powerlessness also imposes upon us.
This is an exhibition that builds upon itself as one goes, unfurling the story of Nara’s own personal artistic journey whilst also inviting us to confront, with kindness, how we consider innocence and joy in the face of the most uncomfortable aspects of humanity.
The subjects and lines of Nara’s work are often bold, unforgiving and a zoom into close details reveal precise intentionalism masterfully masquerading as frivolous placement. That tightly honed balance is brought to the fore in the Hayward’s exhibition, one of the finest ones that has been held in the gallery in the past few years. Yoshimoto Nara’s work has never felt more relevant, more comforting or more meaningful that it does right now.
Yoshitomo Nara runs until the 31st of August, 2025, at the Hayward Gallery. More information and tickets can be found here.