“ I’m 56, so I’m kind of old. I learned all these things recently, but Virgil does it as if he’s breathing – so I’m learning from him!”
How did you conceive the hang for the show here at Gagosian Davies Street?
VA: We very much thought about the space. A lot of these pieces were created knowing this particular gallery. We wanted to do a mixture between paintings and sculptures, and relate it to the street so that when you stand on the street, that sculpture relates to the painting behind it.
You’ve incorporated motifs that relate to Off-White into these works as well.
VA: Yes, it’s like I rebranded my brand with art.
Tell me about the sculpture of a house that’s in the show. Is it a reference to your background in architecture?
VA: Exactly. That pitched-roof archi- tecture is an “idea of home.” I often speak in quotes! Then, giving it a different sensibility by disrupting it, and also re-contextualising it with the text “Life Itself.” The greenhouse is meant to sustain life, and so it’s a figurative take on that.
It also reads very much as a branding exercise once again.
VA: Yes, that’s my voice. I regularly use Helvetica in Off-White to reclaim or reprogram a tangible object.
Takashi, in the time that you’ve been working, visual culture has changed very dramatically, par- ticularly with the arrival of social media and applications like Instagram.
TM: I had a period when I really thought that I needed to change the way I’m involved in social media. There were Japanese victims be headed by Isis, and the videos were going viral. I watched them a lot. When I realized I was doing that, I re- alized how the power of social media is dramatically changing, and how it’s affecting me. I was becoming aware of how the way we input and output information has really changed. I’m 56, so I’m kind of old. I learned all these things recently, but Virgil does it as if he’s breathing – so I’m learning from him!