Arata Nakamura

Year of birth: from 1973.
Where do you live: Yokohama.
Describe your art in three words: ROCK, ROCK, ROCK.
Your discipline: ROCK ‘N’ ROLL.
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Could you tell us about your journey from music production and DJing in Tokyo to becoming a collage artist? How did these fields intersect in your creative process?

Throughout my music career, I undertook numerous design projects. Punk rock has been a cornerstone of my musical journey, profoundly influencing my approach to fashion and design. Jamie Reid played a pivotal role in shaping my understanding of punk aesthetics; by emulating his work, I discovered the art of collage. Thus, transitioning from music to becoming a collage artist felt entirely natural, even inevitable.

Arata Nakamura | First ever USA tour | 1977

Your work merges music, visuals, and historical elements. How do you select the materials and themes for your collages?

When I first decided to become a collage artist and started creating pieces, I found myself overthinking the theme for each one, which made it difficult to get started. Even when I managed to complete something after much deliberation, the results often felt lacklustre and uninspired. Having introduced myself as a musician for so long, I believed that to call myself a collage artist, I’d need to hold a solo exhibition. But at the pace I was working, I became increasingly anxious about how few pieces I had.

One day, my wife recommended a book. It was written by an unknown Japanese author and focused on how ordinary people can make a living doing what they love. The book suggested imagining your daily schedule 10 years from now. When I did this exercise, I realised I needed to drastically increase the pace at which I was finishing my work. To do that, I had to stop overthinking and simply start creating.

So, I began with one piece. When it was finished, I showed it to my wife. She asked, “What’s the theme behind this one?” I replied, “Honestly, there isn’t one. I wasn’t thinking about any theme at all.” She then said, “Well, that’s fine, because everything you love and everything that makes you you is already in this piece.”

That moment shifted everything for me. Since then, I’ve stopped setting specific themes for my work. What I create now comes naturally, and it reflects not just music but the history of music, fashion, and my passion for vintage. It’s a direct expression of who I am.

Arata Nakamura | Melody maker

What role does nostalgia or history play in your art, especially in the context of modern digital culture?

Digital culture has profoundly influenced me, becoming an indispensable part of my life. In music, I’ve always been keen to experiment with electronic sounds, and the same applied to my design work. However, as I’ve grown older, I’ve found myself feeling somewhat fatigued by the digital world and increasingly drawn to a sense of human warmth and authenticity. I started gravitating towards music from the ’60s and ’70s, allowing it to influence my compositions. Similarly, my art, which I had previously completed entirely on the computer, began to incorporate more analogue techniques.

Working with analogue methods reminded me of something I’d forgotten—the beauty of human imperfection: the slight distortions, the irregularities. I’m not here to deny the remarkable achievements of the digital age—far from it. In fact, I still use computers to create blueprints and initial designs, which I then bring to life through analogue processes.

For me, nostalgia and history are essential tools to help navigate the digital world without losing touch with the human spirit. It’s my way of maintaining a balance—embracing progress while staying connected to something timelessly human.

How does your background in designing event flyers influence your current artistic style and approach to collage-making?

It all comes down to the importance of first impressions, really. I think I’ve unconsciously developed a sense of balance that allows things to be instantly understood at a glance. In advertising, text plays a key role, and perhaps that influence is why elements of text often find their way into my work as well.

Arata Nakamura | Play real music

Many of your works feature bold colours and layered imagery. Could you walk us through your creative process from initial idea to finished piece?

This might overlap with things I’ve mentioned in previous interviews, but both my ideas and use of colour naturally stem from my past experiences in music and design. I make a conscious effort not to overthink things and instead trust my sense of balance.

One thing I’m particularly mindful of is avoiding a slick, overly modern feel, even though I work with digital tools. For example, I often stain my printed or painted pieces with coffee, repeating the process several times to build up layers. What I focus on most is the delicate balance of imperfections—the subtle warping or tearing of the paper. Getting that just right is where I place the greatest care.

Have you faced any challenges transitioning from commercial design (flyers and posters) to creating art for gallery spaces or collectors?

While I avoid setting specific themes for my work, I do consciously aim to weave in some form of message. In commercial design, it’s relatively straightforward to craft a message, as the artwork is developed alongside elements like company names or slogans. However, in my personal creations, conveying a clear message can be a bit more challenging.

Arata Nakamura | Ive been working on the railroad

Do you see a connection between the rhythm of music and the composition of your collages? If so, how do you translate that rhythm into a visual format?

I don’t consciously consider rhythm in my work, but I do imagine certain musical genres coming through. For instance, I might envision a person holding an acoustic guitar, contemplating how forcefully they’re strumming the strings, which chords they’re playing, or the quality of their voice. In that sense, perhaps rhythm plays a role as well.