NIKE 公式オンラインストア


PEOPLEText: Naoko Fukushi

Tangled, tied and frayed… Taku Anekawa finds such fascination of thread and recently he’s making artworks with embroider energetically. This issue’s cover design has done by him, who has reached his 10th year anniversary as a creator. However, you might have heard his name for the first time. He has mainly worked as an art director or planner for clients but recently started focusing on creating his own work. We can’t help taking notice of him as an artist at the moment.

Could you introduce yourself first?

Taku Anekawa. I’m an illustrator, art director and planner.

What’s your present activity?

From this year, I’m actively doing my personal project but also do a lot of client works. Both opening up a new field and receiving an order is attractive for me.

Could you introduce your recent projects briefly?

P900i meets artist “crossing”
This project, proposed by Panasonic Mobile, explores a new form of collaboration between artist and company. As a launch project, I asked various artists to present a custom jacket design for “P900i” series. Participating artists are ten_do_ten, Yutanpo Shirane, Sei Hishikawa, ARKO, HIRO, Imaitoonz, moss design unit, Lisa Fukui, Masatoshi Ebisawa, Atsushi Toyama, nem, Taku Anekawa. These custom-designed jackets were available for purchase in the exhibition.

NHK TV school for parents and children
It’s a TV programme with a concept of the new type of TV programme for parents and children. It’s broadcasted on every Saturday and eleven in the morning. I create the opening animation, title/character design, and illustration for studio design.

In addition, I did art direction for nano-visual which was screened at NEDO booth of Nogoya international exposition, short movie for Panasonic CQ, design for tabacco vending machine for Tokyo Designers Block and making a new character for an agency, etc..

Could you tell me the difference between character design and holding an exhibition of your art work?

I think I can show purer aspect in the exhibition. It’s because of, of course, the absence of a client. I also feel the art work for exhibition is like an answer coming from my personal life and idea. The reason why I started working actively for my exhibition is that I felt like creating purer things and also I finally established a right environment for creation after four years presence in Tokyo. When you compare my character design for client and for my exhibition, its looks and feeling seems completely different but if you see them in 10 or 20 years later, you could probably recognise these characters were designed by the same person because the root is same. I also don’t try to put much difference on both projects. That means there isn’t much difference between them actually. I also can say that before 2003, I brought my art works to a company to get commission but from this year, I changed the way to show my art works into an exhibition.

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