The curtain rises at Nanzuka Art Center, revealing a 12-meter-tall "Sexy Robot" towering over the outdoor plaza of Shanghai's Huamu Time Square, its metallic surface mirroring Lujiazui's neon glow. —— This iconic figure that once set the Dior runway ablaze now stands as the centerpiece of Hajime Sorayama's exhibition "Light · Transparency · Reflection." Spanning fifty years of creative evolution - from his 1978 mechanical sketches for Suntory whiskey to the breathing "Sexy Robot" in the mirrored chamber - the 78-year-old artist dissects human desire through metallic reflections.

During the exhibition, Oui Art conducted exclusive interviews with master artist Hajime Sorayama and Nanzuka founder Shinji Nanzuka, creating a remarkable dialogue that adds new dimensions to this rare retrospective.

"Scale equals power, and power creates awe." Watching visitors crane their necks at his monumental work, Sorayama explains his creative philosophy as "a sacred feast of entertainment." When mirrors refract spectators' images into the robot's joints, the revelation strikes: this isn't futuristic fantasy but a cybernetic reinvention of da Vinci's sfumato and Hokusai's ukiyo-e - a time machine fueled by desire.

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Sorayama's work embodies "Yūgen," the Japanese aesthetic of profound mystery. His metallic surfaces recall Ogata Kōrin's gold-leaf moon halos - sixty airbrush layers simulating silver oxidation create living textures. This material mastery contrasts sharply with AI-generated imagery's algorithmic sterility.

Q1：Mr. Sorayama, your earliest metallic robot figure was created in the late 1970s for Suntory. Could you share the inspiration behind this design and how the project came about?

I heard the news that Star Wars was going to be released, and then I was asked to draw a robot for Suntory's whiskey advertisement. I've always liked metal, and I thought I could do it, so I accepted.

スターウォーズが公開されるというニュースを聞いて、サントリーのウィスキーの広告用にロボットの絵を描いてくれという依頼があったのが最初です。金属は昔から好きだったし、描けると思ったので受けました。（日本語）

The space age industrial design boom, triggered by Gagarin's space travel in 1961 and the subsequent Apollo moon landing, led to a surge in interest in industrial design in the late 60s and 70s, with figures like Eero Aarnio, Eero Saarinen, Werner Panton, and Pierre Paulin. In cinema, films such as 2001: A Space Odyssey, Alien, and Star Wars explored the mysteries of the unknown cosmos during the 70s. Sorayama's works, influenced by these themes, should be interpreted more in the context of design and film rather than fine art. Sorayama's Sexy Robot series wasn't born from an academic art history lineage, but as an evolution of commercial art, particularly the pin-up style. However, given how his creative vision has had a profound impact on culture in the 21st century, its significance cannot be ignored in the mainstream art world.

Q2: Following your work for Suntory, you went on to develop the iconic “Sexy Robot” series. What led to this artistic transition, and how did your creative vision evolve during this period?

Pin-up girls (sexy photos of women) were used a lot in alcohol advertisements back in the days so, I drew that as women with metallic skin. It was well received, and people asked me to create more, so it turned into a series.

昔から酒の広告にはピンナップ（セクシーな女性の写真）が使われていたんですよ。私はそれを金属の肌を持った女性として描いたんです。それが評判が良くて、他にももっと描いて欲しいということで、一連のシリーズになりました。（日本語）

I believe it was a natural progression for him. Sorayama, as an illustrator specializing in pin-ups, combined his love for metal with this style, creating female figures with metallic skin. This fusion elevated the pin-up context and introduced new value both in terms of design and the possibilities of the human body.

Q3: The 1980s marked a time when your work resonated strongly with pop culture, including science fiction films and fashion. How did the cultural climate of that era influence your artistic direction?

It seems that works like RoboCop were influenced by my work, and Mugler also said he was a fan of mine. Culture develops by influencing each other like that. For me, though, living, breathing women (muses) are more important as sources of inspiration than movies or fashion—haha.

ロボコップなんかも私の作品から影響を受けているようですし、Muglarも私のファンだと言ってたので、文化はそうやってお互いに影響し合って発展していくものなのです。私にとっては、映画やファッションより生身の人間（ミューズ）のほうが、作品のインスピレーションとしては重要ですがー笑。（日本語）

Since the 1980s, I believe the influence of Sorayama’s work has been greater than the external influences on him. Designs like those of RoboCop, and more recent works like Beyoncé's concert costumes or Louis Vuitton's Digital Girl campaign in 2015, show the ongoing creative impact of Sorayama’s work. This speaks volumes about the excellence of his work and its lasting influence.

Q4: In the 1990s, your creations expanded beyond the “Sexy Robot” to more complex mechanical beings. What inspired this shift in subject matter and design?

I depict the fantasy of human beings becoming mechanized, which is called gynoid. At the time, it was a cult for fetishists, but now, like my friend Keroppy Maeda, there are people seriously engaged in body modification. Well, some of those anti-social fetishes might advance the world in some way.

ガイノイドといって人間が機械化するというファンタジーを描いています。当時はフェティッシュの人たちだけのカルトでしたが、私の友人のケロッピー前田のように、今では真剣に身体改造をしている人もいますし、まあそういう一部の反社会的な性癖が世の中を進化させることもあるということじゃないでしょうか。（日本語）

Sorayama was influenced by underground cultures exploring body modifications, such as body piercing, and developed his gynoid series in the 1990s. Back then, this was mainly a fetish subculture, but today, with the advancements in AI, it’s gaining attention as a device for achieving immortality. While I don’t think Sorayama intended this, it’s undeniable that his work points to a bright future for such possibilities.

Q5: At the turn of the millennium, you introduced transparent robotic female figures in display installations. What was the motivation behind incorporating glass as a material in your work?

In manga and movies like Blade Runner and Ghost in the Shell, there are scenes of creating androids. My work is highly compatible with that, and it was suggested by NANZUKA that I create this. The light reflecting inside the box creates a pleasant effect to watch.

ブレードランナーとか攻殻機動隊など漫画や映画で人造人間を作るシーンがあるでしょ。私の作品は親和性が高いので、NANZUKAの提案で作ったのがきっかけです。箱の中で光が反射を起こすので、見ていて気持ちがいいんですよ。（日本語）

Sorayama developed three-dimensional works and installations to give viewers a more multifaceted and realistic experience of his world and aesthetics. He has always rejected highbrow, academic notions of art and proudly considers his work as entertainment. In that sense, I believe these installations, which draw people into Sorayama’s world, are entirely honest and true to his artistic intentions.

Q6: Many Japanese artists, such as Nobuyoshi Araki, Daido Moriyama, Makoto Aida, and Tadanori Yokoo, have explored the theme of eroticism in their works. How do you perceive your own artistic expression within this lineage?

Humans cannot survive if they deny SEX. Artists are rebels who try to be honest with their impulses, ignoring social norms, so it can't be suppressed. If you look back in art history, there are full of similar works all over the world, but society has suppressed them, so they aren't as well known.

人間はSEXを否定したら生存できません。アーティストは社会性を無視して自分の衝動に正直であろうとする反抗分子なので、抑えられないんですよ。芸術の歴史を遡れば、世界中で同じような作品はあり溢れていますよ。ただ、社会が抹殺してきたから、あまり知られていないだけです。（日本語）

As Sorayama often says, life cannot exist without desire. Artists express themselves beyond societal restrictions and conventions, which is why they create groundbreaking works. Criticism of individual artists should be discussed diversely and individually, considering the culture, history, and social conditions of their respective regions. I believe it’s important to avoid making judgments based solely on singular notions of justice or social norms."

Q7: You have often spoken about your fascination with the beauty of metal and the female form. Could you elaborate on the role of eroticism in your creative process and how it informs your work?

Babies and birds reflexively respond to light. My brain didn’t evolve properly, so I continue to perceive the light of metal as sexy forever. Also, "My attraction to women is tied to my attachment to my mother.

赤子と鳥は光に無条件に反射するんです。私の脳みそは進化しそびれて、永遠に金属の光をセクシーだと認識し続けているんです。それとマザコンのわたしの女性への憧れは同一なんです。（日本語）

It’s his overwhelming sense of beauty. Under this sense of beauty, he attempts to deify whatever he depicts, whether it’s a female robot, a dinosaur, or a human being. The fact that many young women resonate with this aesthetic shows that Sorayama's work is not based on a one-sided, discriminatory view but rather on a universal appreciation of beauty.

Q8: The “Sexy Robot” series features a distinctive body proportion. Is there a particular standard or inspiration behind these measurements?

They are the statues of goddesses as I envision them. I can't explain it beyond that.

私が考える女神像です。それ以上に説明はできません。（日本語）

Q9: The exhibition includes a 12-meter-tall “Sexy Robot” sculpture. When viewed from below, its scale dramatically alters the audience’s perspective. How do you feel about viewers engaging with your work from different angles, and what impact do you believe scale has on emotional expression?

Size is power and surprise. I want to astonish people with my work. For me, my work is entertainment, so in that sense, this piece is one of my greatest masterpieces.

大きいことは強さであり、驚きです。私は自分の作品で人をびっくりさせたい。私にとって自分の作品は、エンターテイメントだと思ってますので、 その意味でこの作品は私の最高傑作の一つです。（日本語）

This giant sculpture was originally created for a Dior show in Tokyo in 2018. Afterward, it sat in our warehouse for over five years. It was only seen by a limited number of VIP guests at the show, so I’m thrilled that it is being publicly displayed for the first time. I am grateful for the support of the landowner and the Shanghai Pudong District Cultural Bureau during the installation process.

Q10: Early in your career, you transitioned from the advertising industry to the art world. Today, such crossovers seem less common. How do you view the evolving relationship between advertising and fine art?

For me, nothing has changed. It's the same. NANZUKA just says it's art and takes it, but I'm just drawing the pictures I like, whether it's for work or anything else.

私にとっては何も変わりません。同じです。NANZUKAがアートだと言って持っていっているだけで、私は仕事であれ、なんであれ好きな絵を描いているだけです。（日本語）

Q11: Younger generations are increasingly drawn to virtual experiences. How do you see the “Sexy Robot” evolving in the digital age?

I don’t know, so I leave it to the imagination of young people.

さあ、私にはわかりませんので、若い人の想像にお任せします。（日本語）

Yes, we are actively considering incorporating new media and concepts into our exhibitions, with a particular focus on the experience of art. In the future, we aim to create a space that could rival places like Disneyland. (laughs)

Q12: The golden “Sexy Robot” in this exhibition has a layered visual quality that exudes a sense of divinity. How do you imagine people will perceive this figure a century from now?

If more people think it's divine like you do, my work will be remembered in history. My goal is to be more appreciated than Leonardo da Vinci 500 years from now.

あなたのように神々しいと思ってくれる人が増えれば、私の作品は歴史に残るでしょう。５００年後にレオナルドダヴィントよりも評価されるのが、私の目標です。（日本語）

Sorayama himself refers to it as his daughter and goddess. A hundred years from now, humans like Sorayama’s Sexy Robots may exist. At that time, I hope his original works will be displayed in museums around the world.

Q13: This exhibition is themed around “Light, Reflection, Transparency” Could you elaborate on your curatorial interpretation of these concepts?

The title comes from concepts that Sorayama himself has discussed regarding his work. Painting light and transparency with the primary colors (plus white) isn’t easy, and in fact, it’s virtually impossible. Yet, Sorayama skillfully uses reflection and highlights to make us perceive light, which is a brilliant illusion. I hope viewers can experience Sorayama's technique and aesthetic firsthand.

Q14: The exhibition is divided into multiple sections, each with a distinct aesthetic. Could you highlight some of the key sections and discuss their design approach?

This time, we are presenting video installations for the first time. Due to the space segmentation, we couldn't create a fully enclosed room, but I believe this new work offers an immersive experience of Sorayama's world.

Q15: As a retrospective of Sorayama’s career, this exhibition provides a comprehensive look at his artistic journey. During the curatorial process, did you uncover any overlooked details or gain new perspectives on his work?

This is the first exhibition to bring together works from the late 70s to his latest creations. I believe visitors will get a panoramic view of Sorayama's 50-year history of creation and gain insight into his consistent aesthetic. There are many fine details about which Sorayama paid particular attention in each work, and I hope each visitor will make their own discoveries during the exhibition.