“In the Shikoku Pilgrimage, each prefecture represents the stages of Buddhist practice. It starts with Tokushima Prefecture, the ‘Dojo of Awakening,’ followed by Kochi Prefecture, the ‘Dojo of Training,’ then Ehime Prefecture, the ‘Dojo of Enlightenment,’ and finally Kagawa Prefecture, the ‘Dojo of Nirvana.’ I found the thematic approach fascinating and decided to take on the task of drawing illustrative maps for each prefecture.”
While petting his beloved cat, Zane, Yutaka Kawai reflects on his work for the latest issue of PAPERSKY; creating original cover illustrations for each prefecture of the Shikoku Pilgrimage — which PAPERSKY interprets as an ultra-long hiking trail.
“The biggest challenge was probably the use of colors,” explains Kawai-san. “There are four different prefectures. Using just one color would be too monotonous, but using too many colors would make them all look the same. In search of inspiration, I even researched Indian religious paintings, but they had too many colors or didn’t work as maps, so they weren’t helpful. In the end, I decided to try using four colors and created the illustrations by digitally collaging watercolor paintings.”
The finished maps, with their watercolor gradients and overlapping shapes, look like abstract geometric patterns. Yet, the arch-shaped lower section on one of the illustrations hints at Kochi Prefecture, and a shape in the upper right resembling Shodoshima Island on another lets you know it’s Kagawa Prefecture.
“Using the maps as a reference, I aimed to create something visually intriguing that stood alone as artwork. The predefined images let you know what you’re looking at, even though the silhouette strays from the actual outline of the terrain. I learned that this is the fun part of drawing maps. The joy of this work was creating something I couldn’t have conceived alone.”
“But, you know what…?” Kawai-san continued with an apologetic tone. We glanced in his direction, noticing both him and Zane by his side flashing a reserved smile.
“When it comes to maps this isn’t really possible, but honestly, I don’t like to decide on the orientation of my drawings (laughs). I always rotate the canvas as I work, adding details with each turn. A piece is complete when I feel it looks good from any direction. The things I can come up with are pretty limited. But when a drawing takes on a life of its own, emerging from places I didn’t intend, it gains depth and seems to spark the viewer’s imagination.”
We tried rotating the illustrations he did for PAPERSKY in different directions. The once definitive images began to shift, and it felt like we were looking at an entirely new place.
“I don’t want to limit how people view my work. I don’t like being preachy or imposing my perspective… basically, I’m indecisive and just go with the flow (laughs). Even moving to Mashiko happened due to personal circumstances. Despite being such a passive person, drawing is the one thing I can do proactively, which is probably why it’s become such an integral part of my life.”
Yutaka Kawai
Born in Tokyo, currently residing in Mashiko, Tochigi Prefecture. A largely self-taught painter, he creates artwork for CD covers, apparel, and magazines, and actively exhibits his work across Japan. He has published a collection of his works titled ‘something/anything.’
