Next comes the meticulous and colorful formations drawn on graph paper, resembling blueprints yet appearing as decorative paintings with a sense of rhythm, created by Kenichi Yamazaki.

Kenichi Yamazaki, from Niigata, worked as a seasonal laborer on construction sites during the period of high economic growth. In his 30s, he fell ill and returned to his hometown from Tokyo. Until his passing in 2015, he continued to draw on graph paper in the hospital room where he was admitted. Memories of his own work experiences and recollections of his hometown are expressed geometrically, using compasses and rulers, with playful touches such as placing learning stickers here and there.

Finally, we enter the space surrounded by brilliantly colored birds, MIRUKA’s corner.

MIRUKA creates a unique world by depicting birds in rich colors and contrasting them with a background adorned with delicate-colored musical notes. Leveraging her background in drawing animated characters, she brings forth a new form of expression in this genre, incorporating a sense of flatness and pop art.

Mr. Morisaki, while carefully examining each piece, immerses himself in the emotions evoked by the artworks, the process of creation, and the intentions and feelings embedded by the artists. At times, he reveals his face as an artist, exuding excitement akin to that of a child.

Were there any challenges or considerations you faced in the narration and expression for the guide?

Morisaki: Narration has various expressive methods, but this time, I tried to approach it naturally without overly acting. I particularly thought that the prologue and epilogue could have a touch of my own style.

How did you feel listening to your own audio guide today?

Morisaki: It’s really good. (laughs)

Were you familiar with the term and meaning of Art Brut?

Morisaki: Now that the recording of the audio guide is complete and I’m looking at the artworks, it feels like I’ve known them forever (laughs). It doesn’t feel like the first time I’ve heard the term, but it was the first time I learned about it when I received this offer.

What are your thoughts on the concept and the artworks associated with it?

Morisaki: When I read the narration and viewed the artworks today, what struck me most was the pure realization that both creators and audience are free, and that’s wonderful. While education and systems are undoubtedly important elements, I once again felt that it’s not necessary to be bound by them. (Forgive me for being presumptuous) As an artist (or a creative individual) myself, it reiterated that not having specialized education in the field doesn’t mean there are things I shouldn’t or couldn’t do.

Did you have a favorite artwork after viewing the exhibition?

Morisaki: I’d love to have MIRUKA’s Resplendent Quetzal. It’s a bit large, but I’d like to display it at home. Also, Takeshi Tominaga’s Takoyaki Taro, an automaton doll eating takoyaki made from beer cans. Creating such a piece from empty cans is truly impressive.

Art, I think, is highly subjective to individual preferences. Personally, I find painting a bit challenging. With landscape paintings, the more I understand their history and context, the more appreciable they become. Since I have a hobby of taking photos, I can sometimes feel, “Ah, this composition works well.” However, things that are even more “artistic” can be truly challenging. I might feel like I could draw them myself, but in reality, I can’t. There’s something different about it. Still, it’s fascinating and enjoyable to be exposed to things you don’t fully comprehend. It means that the viewer is free to look, right? The same applies to music. Even in conversations like this, what resonates or is imagined can vary from person to person. Watching with someone else could be beneficial, as it expands the perspectives based on each person’ experiences and memories.

Through this experience, do you think there will be any influences on your future artistic activities, Mr. Morisaki?

Morisaki: Influences from experiences aren’t immediately apparent, especially if they aren’t significantly profound. They often manifest in expressions without conscious awareness. This time, not just with the narration but being here, it’s been really good. The emotions that surfaced while viewing the artworks today don’t have to be immediately processed within me. Yet, I believe they will be somehow incorporated over time. Having such thoughts recently, I’ve been thinking if this is what it means to become an adult (laughs).

When I go to an art museum, I find myself unable to leave the place. I get absorbed into it. Last year, I went to see the exhibition “Finn Juhl and Danish Chairs” at the Tokyo Metropolitan Art Museum in Ueno. While I was there, I became curious about “how they are made” and got so engrossed... Finally, I reached a resting area where you could sit on chairs designed by him. When I sat down, I felt a sense of joy. I even started thinking about buying one and redesigning my room (laughs).

With a consciousness and pride as an artist, Win Morisaki engages with artworks through a genuine sensibility. If you explore the venue with a relaxed and free approach, as he suggests, the experience is likely to resonate unexpectedly with your lifestyle and mindset.