In 1952 Taro Okamoto created a tile mosaic entitled, ‘Dance.’ Unlike unique works of art, like oil paintings, it is possible to create numerous copies of mosaics and furthermore, these can be displayed outdoors. This allows art to become more accessible to society, that is what he thought. They represent the true the embodiment of Taro Okamoto’s philosophy of art.
Unusually for a Japanese, Taro Okamoto’s spatial sense was extremely highly-developed. Whether he was working on a mural or a monument, the image he possessed was not limited to the work.
‘To draw a black line on a sheet of pure white paper. This act contains the fresh vitality of the human life force. Primeval energy is the power emitted by chaos.
Taro’s anger was like an exploding volcano. It did not contain personal enmity, rather it was the pure anger of humanity. It was both remarkable and refreshing.
It is said that genius is androgyne.
Taro Okamoto’s dynamic spirit and readiness to always meet a challenge was definitely that of a man, of an ‘armed warrior’, but in reality, he had a gentle heart, delicate, kind, and easily wounded.
The term ‘staring contest’ sounds quite lighthearted, but for Taro Okamoto, to stare into the eyes of another was a most serious and symbolic act, an interchange life. It can be described as a sort of ceremony.
Taro Okamoto had a long history as a photographer. Man Ray, Brassai, Capa…leading photographers who are idolized by today’s professionals, were all friends of his while he was living in Paris and at some point in his career he began to use a camera himself.
A frightening face, an artless face, a sad face...all of them are Taro Okamoto.
Artists often paint self-portraits, but there are no self-portraits of Taro Okamoto.