I already forgot where I saw this scarecrow last week. I find the image haunting and overwhelming.
There’s something very Japanese about this scarecrow and its placement in an ad campaign. The farmer’s clothes evoke the past, the expression is at once cute and creepy, and a figure created to deter birds from the field draws attention to a graphic overload of ads highlighting ready-made foods from the countryside and the “Christmas fair.”
This excess of visual symbols in a small space is a kaleidoscope of opposites: 2D and 3D, paper and cloth, old and new, city and country, national and imported, food and commerce, artisanal and industrial. The patterns, colors, fonts, photos, graphics, and references are dizzying.
Above is a kadomatsu, or new year’s decoration that rests on the ground. These large ones are usually in front of businesses. This one is in front of one of my favorite Tokyo haunts: the Tokyo Metropolitan Gymnasium constructed for the 1964 Tokyo Olympics and open to the public now in central Tokyo.
The materials are bamboo, pine, straw and red berries. I love the decorative rope flower and the splayed straw at the base. Below is the shimekazari hanging outside of our apartment door. Notice the folded paper and rice stalk. After the holiday, these plant-based new year’s symbols are burned at shrines. So different than the un-ceremonial sidewalk dumping of US Christmas trees.
Happy new year! Best wishes for a bright new decade.