Artist Talk: Yuken Teruya in conversation with Jonathan Watkins

About

Yuken Teruya is one of the most prolific Okinawan artists of his generation. His work is known for using humble objects – cardboard, paper bags, newspapers, board games, balloons – in ways that echo Okinawa’s historical narrative. It explores the ongoing psychological and political impact of power relationships and their effects on the natural world. In doing so, it attempts to disentangle individual memories from dominant narratives, leading us to critical understandings of our current situation. His works have delved into today’s critical thinking and discourses on democracy, identity, the US military presence, war, violence and ongoing issues related to colonialism. His voice is unique in Japan, yet resonates with audiences beyond.

Teruya is fascinated by human perceptions of the ever-changing moment. For him, the modest practice of drawing is a mighty tool not only to observe hierarchies, but to rebalance them. Historically, painting was primarily a medium in the service of the powerful: oil paintings intended to assert authority through the generations. By contrast, Teruya’s work utilises temporary, fragile materials: his cut-out pieces can be described as expanded drawings, but also as delicate sculptures. Perhaps their vulnerability is not feeble, but a powerful statement of immediacy, adaptability and reconstruction.

The sea is a constant presence in the Okinawan landscape and a recurring theme in Teruya’s work. The exhibition La Mer encapsulates Teruya’s perspective: historic and present references to the Okinawan condition, ecological systems within material cultures, and power relationships between countries. Embedded structural power, institutional hierarchy under the colonial lens and the monopoly of knowledge become normalised in everyday life. Teruya’s practice recognises that this process of occupation and assimilation can also be a diversifying influence that suggests a new, open and heterogeneous notion of Japan: antagonistic, but with potential for cross-pollination of cultures and understandings.

Some of the selected works are dialogues with open questions, while others rethink or reframe hidden structures. Instead of aggravating the prevailing power, Teruya injects some humour, bringing in the wider context, often referring to Okinawan tradition. His work has the approachability of a gently told story, almost like a children’s book; yet behind this amiable delivery, the artist’s commentary on political truths is unflinching. As manifested in this exhibition, Teruya’s visual language reflects on issues sometimes overlooked amidst the tranquil vistas of Okinawa.