We've had the great fortune of corresponding with artist and illustrator, Simon Oxley of Japan (and formerly of the UK.) His work features strong Japanese influence and more than a touch of refreshing humor. The simplicity of his work has inspired countless designers today, bridging the cultures of Japan, Europe and the US.
REUBENMILLER: Your art has a strong Japanese influence. Do you feel any other image-makers or styles also influence your work?
(read the full interview after the jump...)
Simon Oxley: Japan has a great many celebrated cultural references which influence me, such as Ukiyo-e (wood block prints).
Since arriving in Japan, 1999, I have visited a huge amount of shrines (Buddhist and Shinto). The designs within these diverse structures influence my work.
I have spent hours wandering here and many other towns collecting photographic reference of surface patterns and fading designs from the post war years – sun bleached advertising billboards, entrances to bars and homes which still display the shiny tiled surfaces favored during the 60s.
I suppose my favorite aspect of the Japanese architectural heritage is their skillful use of wood. Never tiring of recording these natural grains, I often find myself bypassing the obvious decorative motifs fixing my lens on a wooden panel.
I like the current ‘designer’ vinyl toy trend, colourful Japanese character mascots fostered by the grey corporations, children's book illustrators which I have revisited recently since having children of my own to read to and magazines which showcase the finest design and illustration in the world today.
RM: What is your background?
SO: I grew up in the UK, near Newbury, Berkshire (South central part of England) attending a school near the country village of Kingsclere. During my teenage years I was struck by a growing desire to explore the world. At age 17, I left home to study graphic design at The Bournemouth and Poole College of Art and Design’ Wallisdown.
While there we were lucky enough to receive speaking visits by historical design figures (such as Tim Page, Brian Grimwood, Wolf Olins, Saul Bass). These and other groundbreaking designers helped fuel a passion for the visual image.
RM: Tell us about your family and living in Japan.
SO: I met my wife, Noriko, in Thailand in 1997. We have two beautiful boys, Tyler 5 and Hagen 2 1/2 yrs old, who both keep us to a strict daily regime. We live in my wife’s hometown of Fukuoka, which is situated on the southern island of Kyushu, nearest the southern tip of South Korea.
We have a simple daily routine that involves the usual things – food shopping, watching TV, playing at the park… etc. Being a mixed marriage we enjoy the cultural misunderstandings, which provide us with many laughs. There is, though, the ever-present dilemma of ‘where to settle?’ - Japan or the UK. This gives our life here a temporary aspect, which must find itself expressed through my images I suppose.
RM: The concepts behind your characters are often funny. How do you come up with the gags?
SO: I record thoughts as I have them – sometimes I sit and decide to write ideas but mostly I let them arrive naturally. When working on the computer it is easy to manipulate the vectors to produce spontaneous visual results. The ‘not knowing’ is a very important source of pleasure in my process –I gain enjoyment from a surprising result, a result which I hope ultimately makes someone happy and stimulates their own curiosity.
RM: When did your imagery first start getting noticed? Where has your work been published?
SO: Probably the first offer I had to publish words and images was from a Taiwanese magazine called X-Funs, issue number 09, yr 2004.
My work has also appeared in Victionary, Pictoplasma, Computer Arts Magazine and Coke 120 Year Anniversary poster.
istockphoto.com has given me a perfect platform from which to broadcast my imagery and ideas – the viral networking phenomenon has made it possible for us to reach out to many people worldwide. This image library has provided me with financial and creative motivation to actually make the 4000+ images I am now offering there royalty free. I have grown to know and admire many individuals connected with iStockphoto, not least the CEO, Bruce Livingstone, who invited me to design the company logo and the character which introduces new visitors to the collection and explains how one purchases and or uploads.
RM: Some people have criticized you for 'cheapening' illustration by offering it at low cost, en masse on istockphoto. What's your response to that?
SO: I have received comments, both positive and negative, throughout my association with the stock library learning from both. As an example, I was once accused of bringing the value of the illustration ‘industry’ down offering my images at a relatively low cost, by a fellow Brit.
I considered this, then realized that many do not want their livelihoods affected negatively by shifting business trends – supply and demand is king. The istockphoto model meets the demand of customers who seek low cost, high quality images – this business model does not, and will never, replace the highly valued creative relationships which bring about the highest acclaimed design work.
It was my initial aim to offer many images relatively low price rather than hold on to the hope of selling a few at a high price, there is nothing wrong in doing both as far as I can see? In fact I often enjoy breaking through the established mindset which often likes to pigeon hole someone labeling this person an illustrator that person a musician, to arrive at the fact that everyone is at liberty to diversify their skill set as they see fit, not only for commercial reasons.
RM: What mediums do you use to created your imagery?
SO: Sometimes I use pen and ink, although Adobe Illustrator makes it possible to make editable vector based imagery, which has obvious commercial advantages over traditional methods.
RM: Does your art appear on merchandise?
SO: Right now I am marketing my images on printed materials, such as postcards, posters and greeting cards. Four of the postcard designs are now available at the TATE Modern gallery shop in London, which was my very first order.
I also have a Cafepress shop, idoshop, where my printed material as well as other merchandise are available.
RM: Do you do any graphic design, branding or spot illustration work?
SO: Yes, I often receive enquiries from start-up businesses, individuals who own blog sites and need a banner design as well as large agencies who ask me to produce images for use in campaigns both on and offline.
When I first arrived in Japan, I worked as an art director within a multimedia company based in Harajuku, Tokyo. While there I produced design for annual reports and web sites for many well known corporations such as Mazda, KDDI, Kyocera, Sharp and Yamaha. I continue to produce work for annual reports together with my long-term client, Kato Yoshiaki san, of GIC Imagination, Japan.
RM: How do you keep your ideas fresh and your mind creatively motivated?
SO: The usual media channels provide obvious reference to trends, though I do not consciously use any one reference as the basis for an image I produce.
There is no division between family and work time, financing the family life provides a measure of motivation, however I do find it hard to imagine any other occupational role I could spend my life doing.
Living in both the Middle East (Bahrain) and Japan has given me the opportunity to experience many unique aspects of these rich cultures and then compare them with my own British background. Invaluable source material which I am constantly reinterpreting as I grow older and my perceived understanding of things increases.
More images for your viewing pleasure!
