Question 1

What is “Super Dekoboko”?

Accepted Answer

Super Dekoboko is the core philosophy of Go Hayakawa’s practice. It treats the unevenness inherent in human life — material, personal, temporal, and future — not as a defect to be corrected but as evidence of being alive. Each layer is not only material but a record of survival — pressure, hesitation, collapse, and recovery accumulating in time. A full definition is described on the Concept — Super Dekoboko page.

Question 2

How is Super Dekoboko related to Superflat?

Accepted Answer

Superflat is an important art concept proposed by Takashi Murakami that opened a major pathway for Japanese contemporary art in the global scene. Hayakawa deeply respects that achievement. Super Dekoboko is not an opposing theory, but a concept born from the desire, as another Japanese artist, to dig into a different layer. While Superflat focuses on flatness and consumer culture, Super Dekoboko focuses on unevenness, traces, distortion, time, and what remains of human presence — the deeper strata of material and time.

Question 3

What kind of artworks are shown on this English site?

Accepted Answer

The English site presents abstract works only. The three categories — Geologic Remnants, Condensed Transformations, and Velocity and Fracture — are subcategories within a single abstract practice rooted in Super Dekoboko.

Question 4

Who is this site mainly for?

Accepted Answer

The main audience is what Hayakawa calls Poetic Rebels — people who feel tired of social contradictions yet do not want to lose their sense of honesty and beauty. They tend to value insight, time, and sincerity over spectacle, especially within art communities in cities such as Los Angeles, New York, Berlin, London, and Paris. They are drawn to works that reveal the fractures beneath modern life — the parts that technology cannot smooth away.

Question 5

What materials and tools does Hayakawa use?

Accepted Answer

He mainly uses Nihonga mineral pigments, acrylic, various mediums, resin, FRP, and metallic powders. Uneven textures are created through thick layering, destruction and reworking, differences in drying time, and the use of tools including electric sanders. Cracks and irregularities are treated as records of time and pressure.

Question 6

Are the works heavy or fragile?

Accepted Answer

Large works are physically heavy due to the accumulated layers of pigments, mediums, resin, and mineral components. As with any painting, falls and hard impacts should be avoided. Many cracks and protrusions are intentional elements, so appearance alone may not indicate whether something is damage or part of the original unevenness. These fractures function as signs of tension, pressure, and time, not technical flaws.

Question 7

Do you accept commissions?

Accepted Answer

Yes. Commissions are welcome when direction and conditions align. The process typically involves inquiry, discussion of concept and scale, agreement on budget and schedule, and production within the Super Dekoboko practice.

Question 8

Is this site a sales platform?

Accepted Answer

No. This English site functions as an official context and documentation site. Sales and listings may be handled through external platforms such as online galleries.

Question 9

What is the role of the Journal?

Accepted Answer

The Journal features commentaries on major works, along with candid stories from Hayakawa’s life, and reflections on technology, time, and the near future. It functions as an ongoing log of making and thinking — not a marketing blog.

FAQ

Super Dekoboko and Superflat

Artworks and Audience

Materials and Process

Commissions and Journal