In his latest exhibition, renowned artist Takashi Murakami employs AI technology to replicate traditional Japanese artworks.
In his first British solo exhibition in over 15 years, renowned Japanese artist Takashi Murakami revitalized Iwasa's ancient artwork, which originally adorned a six-panel screen from around 1615. The masterpiece portrays Edo-period Kyoto life with intricate precision, from the vibrant red-light district of Misuji-machi to a cherry blossom procession traversing Gojo Ohashi Bridge.
However, Murakami introduced some unique elements. His iconic flower characters, now in vibrant shades, dominate the medieval backdrop. Miniature anime creatures are sprinkled throughout, even greeting spectators from the Kamo River banks or causing a ruckus on traditional Japanese houses' rooftops. Gold leaf usage has been reinterpreted here as well; each refracting cloud is encrusted with additional flower-person motifs in this modern-day iteration.
Although substantial modifications were made, the result closely mirrors the "National Treasure"-designated historical painting - made partially with AI.
"The artwork was quite antiquated," Murakami explained to CNN at the exhibition launch. "There was significant damage and missing paint. About 80% was salvageable, and I had AI fill in the remaining 20%."
The two collaborated extensively during this process. As AI neared completion, the artist led the fine-tuning. "We went back and forth numerous times until AI suggested a satisfactory answer," Murakami said. "Eventually, it appeared like a patchwork - an assortment of AI-generated images."
AI integration raises concerns in various sectors, as debate continues over whether it poses a threat to human creativity and artistic jobs. In October, over 11,000 artists, including famous painters Amoako Boafo and Joanna Pousette-Dart, signed an open letter demanding a halt to AI companies using their work to train algorithms. "[Unlicensed use of creative works is a] major, unjust threat to the livelihoods of the people behind those works," the statement noted.
Murakami, known for experimenting with augmented reality and NFT collections, sees this differently. "I'm 62 years old," he said. "At an age when I first started designing, it meant manually producing designs."
"The purist designers criticized digital designs, labeling them non-authentic or uncreative due to their digital natures," he continued. "But what opinion do they have now? Maybe within another 10 to 20 years, AI will be widely accepted."
Iwasa isn't the only historical artist that Murakami brought back to life using technology's most advanced tools.
Elsewhere in the exhibition, classic artworks by Edo-period artists Ogata Kenzan, Utagawa Kuniyoshi, Tawaraya Sotatsu, and Kano Eitoku were also restored or reinvented. Some pieces were more extensively revamped than others. In one reinterpretation of Sotatsu’s 17th-century ink screen work "Wind God and Thunder God," haunting deities were given a contemporary anime makeover (though not as ominous as Sotatsu's original, as Murakami's depictions appear more like cartoon characters).
Regardless of technological innovations, Murakami - who runs a large-scale production studio, Kaikai Kiki, with teams of creative helpers - employed 30 extra workers to assist with the Iwasa project (which he titled "Rakuchuu-Rakugai-zu Byobu: Iwasa Matabei RIP"). While some artists struggle or refuse to embrace AI, Murakami's expansive staff enables him to adapt to evolving technological trends.
"Some of my young assistants have never held a pencil or pen," he said. "They only use a mouse, tablet or digital tools to create. Perhaps it's early, but in seven to 10 years, people might use AI for fast art production."
"I view it as fascinating," Murakami added. "But this is human evolution."
In incorporating his signature style into the ancient artwork, Murakami seamlessly blended traditional and contemporary arts. The artwork, now adorned with vibrant flower characters and miniature anime creatures, showcases a unique fusion of styles.
Murakami's approach to utilizing AI in restoration and reimagining historical artworks sparked intriguing discussions on the role of technology in the arts, challenging traditional notions and embracing evolution.
