A Blend of Old and New at the Gagosian Gallery
This December, London’s Gagosian Gallery is showcasing a striking reinterpretation of Iwasa Matabei’s iconic 17th-century gold-leafed folding screen Rakuchu Rakugai Zu Byobu. For those unable to visit the Tokyo National Museum, where the original hangs, this large-scale replica offers a glimpse into the past with a modern twist. Created by renowned Japanese artist Takashi Murakami, this is Murakami’s first solo exhibition in the UK in over 15 years. The re-imagined painting, while echoing the original’s intricate depiction of life in Edo-period Kyoto, adds Murakami’s signature visual elements to the historic scene, merging tradition with contemporary flair.
Iwasa’s masterpiece, painted around 1615, captures the vibrancy of Kyoto through six panels, showcasing the city’s bustling districts and serene landscapes. Murakami’s version preserves this essence but is replete with new additions, such as his brightly colored flower characters and anime-inspired animals scattered throughout the scene. These whimsical creatures can be seen interacting with the environment—waving from the banks of the Kamo River or perched atop a traditional Japanese longhouse roof. The artist also reinterprets Iwasa’s famous use of gold leaf, embossing it with his signature flowers, giving the work a playful, modern energy that contrasts with the historical setting.
Artificial Intelligence: A Tool for Artistic Revival
Despite these creative additions, Murakami’s adaptation stays true to the spirit of Iwasa’s original work. What makes this reinterpretation even more remarkable is that a significant portion of it was completed with the help of artificial intelligence. The original Rakuchu Rakugai Zu Byobu had sustained considerable damage over the centuries, with portions of the paint missing.
To restore the missing sections, Murakami turned to AI, utilizing the technology to fill in the gaps. He describes the process as a dialogue between the artist and the AI, where both worked together to recreate the missing elements. “About 80% of the original was intact, and for the other 20%, I asked AI to fill in the drawing and color,” Murakami explained. The process took 10 months, with multiple revisions to perfect the work. The result is a seamless fusion of human and machine—a patchwork that blends the past and present in a way that pushes the boundaries of traditional art restoration.
While AI’s role in the creative world is controversial, Murakami is unfazed by its critics. Many artists have voiced concerns about AI’s potential to devalue human creativity, with thousands of creatives signing petitions to stop AI companies from using their works without permission. However, Murakami views this technology as an exciting tool, not a threat. “When I was younger, designers rejected digital drawings, saying they weren’t real design,” he notes. “Now, no one questions it. Maybe in 10 or 20 years, no one will have an issue with AI either.” His belief in AI’s potential to reshape art reflects his commitment to embracing change, both in artistic methods and in broader cultural trends.
Exploring the Evolution of Art with AI
Murakami’s exploration of AI goes beyond this one painting. Throughout the exhibition, he has applied the same technological approach to other Edo-period works, bringing a contemporary spin to classics. For instance, his reimagining of Tawaraya Sotatsu’s 17th-century Wind God and Thunder God transforms the divine figures into anime-style characters, though some feel that this softens the haunting, powerful presence of the original. Despite his use of advanced technology, Murakami remains dedicated to working with a large team of assistants, who help realize his vision.
For the Iwasa replica alone, he employed 30 people to assist with its creation. This collaborative effort shows that while technology may be part of the creative process, human expertise and creativity are still essential to Murakami’s work.
Interestingly, many of Murakami’s assistants have never worked with traditional tools like pencils or brushes. Instead, they are accustomed to digital tools such as tablets and styluses. Murakami sees this as a sign of the evolving nature of art. “In seven or 10 years, people could be using AI to create fast drawings,” he muses. “It’s curious, but this is human evolution.” By embracing AI, Murakami is at the forefront of a new era in art, where technology and tradition coexist, pushing the boundaries of what art can be in the 21st century.
Through this exhibition, Murakami invites viewers to reflect on the intersection of history, technology, and creativity. His work challenges us to reconsider the role of AI in artistic expression, sparking a conversation about the future of art and the evolving relationship between humans and machines.
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