Rica Takashima's Et Cetera : 2026

Something that is ordinary to one person can be a strange practice to others. At the same time, that strange practice can be exciting to yet another. Rica wants to express the differences between cultures as something fun and exciting, rather than as creating conflict and friction.

In 1995, Rica started drawing the semi-autobiographical Manga portraying everyday lives of lesbians, in Japan’s premier lesbian magazine at that time. She struggled with her sexuality since her young age, but there were no movies/novels with themed positive lesbian stories even in 1980s. Her questions towards traditional Japanese patriarchal family values and discrimination against LGBT motivated her to start to draw conceptual Manga to public. Her project Manga book was published in 2003 and 2012 in English and Japanese, and Italian version in 2011. After she immigrated to the US with her family in 2008, she collaborates her work with Pride March, NewFEST LGBT film festival, and other diverse organizations.

She also created manga illustrations of We Can Do It! series, which encourages women in diversity.

Manga sculpture, El Barrio Comes All Colors, Shapes and Sizes was funded by Flow15, Randall’s Island park alliance, The Bronx Museum of the Arts, and Made Event 2015

Rica, Miho and Meechan Cat was awarded as Demystifying NFTs by Technology Gap and New York Foundation for the Arts, 2022

Her interactive public installation Aliens in New York has been supported by New York Foundation for the Arts since 2013 which Rica started in Tokyo Harajuku open street since 1994.(The name at the time was Aozora Art/Blue Sky Art)

*****

My personal paradigm shift

Let me vent for a moment before I move forward.

When I draw, I want to break free from this internal ruler I built through training in light and shadow. It’s honestly getting in the way.

From high school on, preparing for art school meant intense foundational training. Seeing a color and immediately being able to reproduce it in different media that was just normal. Then the system shifted to CMYK, with endless gray variations and LM/LC. And now RGB. At this point I don’t understand color intuitively anymore. The palette itself has changed.

Age hasn’t helped. I can’t draw straight lines by hand like I used to. My eyes won’t let me do precise manual work anymore. I used to be able to pull clean lines without a ruler. Now even switching between different glasses doesn’t fix it.

I still draw traditionally sometimes, but I’ve mostly moved to digital. Being able to increase the DPI and zoom in infinitely is a blessing. And yet… I still can’t draw a truly clean line. I hammer Command+Z over and over. I can’t believe I’ve become this person.

On top of that, the very concept of how to draw keeps changing. No matter how far I push forward, I keep running into walls. I understand why people my age become managers. I understand why some retire.

I happened to love places like Studio 200 and Art Vivant back in the day. I think it’s because I was drawn to art that wasn’t fully completed — art still in evolution. At the time I just thought it looked cool. Now I understand: I love art that fills the gaps of the world through trial and error, even if it’s not mainstream. The more polished and perfected something is, the colder I feel toward it. Once something is complete, it stops evolving.

In NYC, artists are expected to keep evolving. I love that mindset.

But to return to where I started: stripping away everything I internalized during my years in Japan has been incredibly hard. My past self keeps pulling at my ankles.

Please, old version of me, let go. Rest in peace.

pic @nicomuffler

私にとってのパラダイムシフト

先に進むためにまたちょっとはかせてくれ

ものを描くときに光と影で習得してしまったこの体内定規をなんとかしたい。

本当に邪魔

高校から美大受験に向けて基礎的な訓練受けて

見た色や表現したい色をすぐさま、様々な画材で再表現するとか、

そういうの当然だったじゃないですか

それがCMYKになり更にグレーのバリエとLM LC

だけどRGBになりもう体感的に全然わかんなくなった。パレットの使い方が変わった

年齢のせいで線が真っ直ぐ引けなくなり。きっちりした手作業がもう無理なのよ目のせいで。

以前は定規なしでも引けるくらいだったのに

んで、いろんなメガネ変えて使っても見えない

今でも生絵を描く機会はあるが、ほぼデジタルに移行しているので

Dpi上げて拡大して描き続けれるのは、まあ、さいわいです

でもダメだな本当に綺麗な線がかけないんだよ

コマンドz押しまくりよ、そんな自分が信じれんよ

しかも　絵の描き方そのものがもう概念どんどん変わっていくんで、

進めど進めど頭をぶつけてばかりよ。

みんな同世代が管理職になるのわかるし引退するのわかる

私はたまたま、今はなき

スタジオ２００とかアールヴィヴァンとか大好きで

それは完全には完成されてない進化途中のアートが好きだったからだと思ってる

当時はカッコいいから、って理由だったけど

今では、主流ではないかもだけど世界の隙間を埋める手探りのアートが好きなんだと理解してる

完成度が高ければ高いほど私は冷めてしまうのだ

そもそも完成されてしまったらアートは進化できない

NYCでは作家がいかに進化するかが求められるが、私はその思考が好きなんだよな

話は最初に戻るけど、日本時代に身につけたあれこれを剥ぎ落とすのに本当に苦労してるんだよ

自分の足を引っ張る過去の自分よどうか成仏してください

Monday, February 2, 2026

some thoughts for art and culture I love

Last year I was interviewed by a queer digital archive run by staff in Amsterdam and London. One of the questions they asked was something like: “What do you think about archiving emotions?”

When I make work, the emotions behind it are often anger, pain, doubt, or sadness — but the final expression usually turns into something bright, pop, and fun. That contrast is kind of my signature. Because of that, I’ve always felt there are parts of my personality that get misunderstood. At the time, I came away thinking that maybe artwork shouldn’t just be tagged with dates and media, but with emotions too.

This year I’ve been rewatching Vocaloid videos I was obsessed with over ten years ago, along with newer ones. I kept wondering why I was so deeply into them back then. I think it’s because it’s a medium where emotions are fully exposed — and shared collectively. Literature can do that too, but for me it always felt too lonely. Vocaloid culture takes painful feelings, puts them into words and music, and then layers comments on top. The piece is “completed” through that interaction — or maybe it never really completes, it’s always in progress. That’s why those works never die.

Either way, it’s all very teenage-edgelord energy, not exactly a hobby you brag about. That’s my Vocaloid phase.

So what about games?

I love technology, art, and weird gadgets (mostly as a spectator). Genre labels aside, I’ve always liked indie games. But I kept feeling something was missing — emotional expression didn’t seem very present. Recently though, I found an incredible piece: a DDR-style mini game layered with emotional literature, wrapped in the most pop presentation imaginable. I got genuinely excited. I thought, so this is possible. The creator is a software-focused CS person rather than hardware-oriented, which… yeah, tough times to be in that field right now.

I love seeing younger artists create new things without being dragged down by traditional art expectations. New work always comes from places we don’t yet know. That’s why it feels like the future.

昨年、アムスとロンドンのスタッフがやってるクイア系のデジタルアーカイブのインタビューを受けて、その時の質問で「感情をアーカイブする事についてどう思うか」みたいなやつがあったんだよね。

作品を作るときの感情は怒りや痛みや疑問や悲しみだったりするのに、表現としては明るくポップで楽しい作品に帰結する、ってのが私の特徴で、だからこそ私のパーソナリティに誤解される部分が前から多いとは思っていたので。

だから作品につけるタグ付けは、年月日やメディアだけでなく感情も入れるといいのかなという、その時の私の理解はそんな感じだった。

今年に入って10年以上前にハマったボーカロイドの動画を聞き直していたり新作を見たりしているのだけど、なんで自分が当時あんなにハマったんだろうか、と思うに、「感情を全面に出して、かつみんなで共有してみる」メディアだからかなとかちょっと思った。感情を全面に出してる文学とかもあるが私には孤独すぎたんだな。痛い辛いという感情を言葉と曲に乗せて、そこにコメントがついて完成させる的な、いや完成しないで常に経過途中な作品なんだろう。だから作品は永遠に死なない。

どっちみち厨二病の世界なんで自慢できるような趣味ではない。私のボカロ厨は。

んで、ゲームはどう？

私はテクノロジーとアートとか変なガジェット好きで（見る専）、まあテックがどんなジャンルかってのはさておき、インディーズゲームは好きなんである。そこに感情表現はあると思う？あんまなくね？そこに物足りなさを感じてた。んが、DDR風のミニゲームに感情文学をのせた最高にポップな作品を先日見つけてちょっと興奮してる。この手があったか、と、思う。ゲームボーイのカセットでも５００bit以下でヤバい作品作ってる。作家さんはハード系ではなくソフト系のCS専門なので今はきつい時代だよなあ。

若い人がトラディショナルアートに引きずられずにどんどん新しいものを作るのが好きだ。いつも新しいものは未だにしらないところから来るんだ。だから未来なんだよね。