Re:
His series of “Re:” collections are inspired from the common E-mail subject line.
Re: is shown every time there is an E-mail reply, as these tend to add up endlessly on the subjects if shared in abundance. When he presented these very colorful collections for the first time at an exhibition in graf, Osaka, 2002, the colorful panels with numerous Re: font were placed on the wall randomly.
These were intended to depict youngsters with their various color fashion, in the hectic Shibuya intersection busily on their cellphones exchanging emails and Re: appearing on their subject lines endlessly. Ironically, there is no longer a subject line on the SNS. One day, Nakamura’s “Re:” collections may recite the history of social network of a past time.
The connections, or lack of, by exchanging E-mails is often the emptiness felt when there is a continuous stream of “Re:” on the screen, and this emptiness is the common elements of Nakamura’s series collection Speech Balloons, Speech Balloon Man, and Without Me.
His series of “Re:” collections are inspired from the common E-mail subject line.
Re: is shown every time there is an E-mail reply, as these tend to add up endlessly on the subjects if shared in abundance. When he presented these very colorful collections for the first time at an exhibition in graf, Osaka, 2002, the colorful panels with numerous Re: font were placed on the wall randomly.
These were intended to depict youngsters with their various color fashion, in the hectic Shibuya intersection busily on their cellphones exchanging emails and Re: appearing on their subject lines endlessly. Ironically, there is no longer a subject line on the SNS. One day, Nakamura’s “Re:” collections may recite the history of social network of a past time.
The connections, or lack of, by exchanging E-mails is often the emptiness felt when there is a continuous stream of “Re:” on the screen, and this emptiness is the common elements of Nakamura’s series collection Speech Balloons, Speech Balloon Man, and Without Me.
| "Re:" |
