With a rich sense of color, distinctive compositions and delicate touch, Korean illustrator and designer John Kafka weaves a singular, otherworldly aesthetic – one that continually redefines the beauty of contemporary illustration. Since first gaining widespread attention through posts on social media, John has seen a growing presence in Japan as well, with solo exhibitions and notable projects which includes the music video for one of Ado’s cover songs.
Taking “Jhon”, a common English first name and “Kafka,” a direct homage to the German literary icon Franz Kafka as his artist name, his artistic identity and image still remain pretty mysterious – in this interview (Part 1), we delve into his path to becoming who he is today, explore the roots of his creative vision and uncover his aspirations for the future.
The making of Jhon Kafka: Journey to becoming an artist
B- Thank you for joining us today. Last year, you had two solo exhibitions in Japan – “DECO” at Harakado, “KARMA” at Mikan Shimokitazawa. How was the experience for you?
John Kafka- I used to come to Tokyo often as a tourist, but last year was actually the first time I held a solo exhibition in Japan. The art scene and exhibition culture are pretty active in Japan and I really enjoyed interacting with fans. I was genuinely happy to see people connecting with my work, and this experience became a big source of motivation for me to keep going with what I do now. Japan is like a sacred place for subculture, and actually, I have something planned here again this year (which we’ll dive more into in the second part of this interview).
B- What does your day-to-day look like?
John Kafka-I work as a freelance illustrator, and I also teach art classes as an instructor.
B- Oh, you’re an art instructor! Could you tell us a bit about your background and how your journey as an artist began?
John Kafka- I first became interested in drawing when I was in high school. It started out simply as a hobby. I graduated from an art university and worked in fields like web design, publishing and editing. It was that time my aspiration to publish my own art book grew. It was about three years ago that I decided to pursue a career as an artist seriously. While working on projects like gaming and advertising illustrations, I was able to fulfill a long-time dream of publishing my own art book, thanks in part to the opportunity brought by this recent exhibition.
B- What made you pursue your dream of becoming an artist in the first place?
John Kafka- I’ve always loved drawing, but I never really planned to do it professionally. That changed when I had the chance to help design the cover of an art book for an artist I know. It made me realize how incredible it is to share your work with people all over the world. It really made me imagine how wonderful it must be to create beautiful art and have it published. That artist, still continues to support me to this day, and is like a mentor to me. Looking back, I think that experience was the moment that made me realize my desire to publish my own art book.
B- Was there a particular moment that led to your rise in popularity?
John Kafka- Hmm. I wouldn’t say I’m popular yet. But I’m starting to feel that just a little when I get to collaborate with well-known artists, or when people discover and connect with the things I love or want to express through my work.
B- What kind of pop culture have you been into over the years?
John Kafka- My interests are usually around films, music, books – novels and poetry including haiku. I really like the films of Wong Kar-wai and Akira Kurosawa. Rashomon and Dreams are two of my favorites. I also find a lot of inspiration in artists like King Gnu and Ado, not just their music but also the way they write lyrics and approach their creative process.
B- Were there any artists who had a particular influence on your creative work?
John Kafka- When it comes to illustration, I’ve been heavily influenced by J.C. Leyendecker, an American illustrator who was active in the early 20th century. In terms of Japanese artists, I really admire illustrators like Mai Yoneyama and Taiki. And also, Kenshi Yonezu – his creative freedon is really inspiring.
B- That’s an unexpected reference to Leyendecker, and your deep appreciation for Japanese culture is also very impressive as well. Would you mind sharing about your creative process?
John Kafka- I usually start by gathering a lot of reference materials and sources of inspiration. After that, I would sketch out rough ideas, thinking about how I can blend them with my specialties, then decide on the direction as I begin adding colors. I don’t really go on adding layers. At the end, I go through some corrections and silhouette checks. If I notice anything that feels off or underdeveloped, I make sure to brush it up and refine it as I go.
Creative Challenges and Rewards
B- Your work seems to be primarily digital – what made you choose digital over traditional (analog) methods? Are there times when you really feel the difference between the two?
John Kafka- I do like oil paints and watercolors as well. But one of the main reasons I create my work digitally is because it’s much easier to share through platforms like social media and in forms of video while also utilizing those as a way of communication with others. That said, I believe analog and digital art should co-exist. For example, layering traditional elements over digital work or working on both in parallel – I think this kind of integration is very important.
B- You value creating both digital and analog works in tandem rather than leaning to one. I think your digital artworks were reproduced on metal canvases, turning them into physical pieces (MCA), at your solo exhibition “DECO” at Harakado last year. How did you like that to cross that boundary?
John Kafka- Seeing the works on metal canvas in person made me realize how versatile the material can be – I hadn’t imagined it could be used that way. It’s such a fascinating medium that I honestly felt my own skills weren’t quite enough to fully bring out its potential. That’s exactly why I’m looking forward to trying it again in the future and doing an even better job with it!
B- Do you have any passions outside of creating?
John Kafka- I haven’t had much time to enjoy my hobbies lately, which is a bit of a shame, but I do like reading books, especially novels and poetry. I’m also into accessories – my particular favorites are brands like Rick Owens, Comme des Garçons, Gucci, Vivienne Westwood, and so on.
B- Interesting! I see things like clothing and accessories are definitely a big part of what makes your work so appealing. Do you have a favorite piece of your own?
John Kafka- My favorite is this piece called “Karma”. The theme is reflection and I focused on looking back on my past while I was working on it. I realized that up until then, I had only chosen to work on themes that interested me or would help boost my career. I had never created art for someone else or to express my family, friends or the people around me. That really made me reflect on my past self who’d only been making art for me.
My mom is actually Buddhist and reading some books about it helped me decide on the concept. Karma refers to the idea of how our actions have consequences. This piece expresses that realization and my message about it.
B- Tell us about your collaboration with Ado on her cover MV, and with Eve on the tribute album “Under Blue,” which focused on “painting music” – how was it?
John Kafka- I was very happy because I’ve always been a huge fan of Ado and Eve to the extent where I even created fanarts of them! I think the artwork really shows my genuine admiration for them as a fan.
B- Are there any differences between creating artwork for music videos, game illustrations or for solo exhibitions?
John Kafka- I used to separate them, but I don’t see much of a difference. For game illustrations, I only create what’s exactly been requested. For collaborations, what’s unique from my usual process is that it usually starts with a meeting to discuss the concept together.
B- Have you ever felt stuck or found certain parts of the creative process particularly tough? On the flip side, are there any moments that have made you really happy?
John Kafka- Every piece comes with its own challenges. It’s always tough in some way, and as art is something that constantly gets consumed, I sometimes get tired of seeing my own work. It’s almost like my sense of identity starts to feel stagnant. If I stick to my usual style too much, it can start to feel repetitive and boring, but if I stray too far from it, it doesn’t feel ‘me’ anymore. This kind of struggle is something I often deal with. Some remarkable moments when I feel happy are when a collaboration goes well. Another special moment was when a Japanese family came to see “Karma” when I exhibited it in Japan, telling me they started painting because of me. That really moved me and made me realize the impact of what I do.
to be continued in Part 2
