processed into its ‘own’ thing’ (Sawaragi cited in Woznicki).

Thus, for Sawaragi the

Neo-pop artists take this ‘negative’ situation of the post-war period as an ‘empty’ space
for Japanese art, and then creating something positive from it. Sawaragi argues that the
For Sawaragi this represents a refusal of using the West as a mirror through which to
reflect Japan’s self-image. So like Murakami, Sawaragi takes the hybrid identity of post-
war Japan and uses processed into its ‘own’ thing’ (Sawaragi cited in Woznicki). Thus,
for Sawaragi the Neo-pop artists take this ‘negative’ situation of the post-war period as an
‘empty’ space for Japanese art, and then creating something positive from it. Sawaragi
argues that the originality of Neo-pop is expressed through the remaking of ‘borrowed’
cultural forms. For Sawaragi this represents a refusal of using the West as a mirror
through which to reflect Japan’s self-image. So like Murakami, Sawaragi takes the hybrid
identity of post-war Japan and uses it as an expression of original Japanese identity, albeit
ironically. processed into its ‘own’ thing’ (Sawaragi cited in Woznicki). Thus, for
Sawaragi the Neo-pop artists take this ‘negative’ situation of the post-war period as an
‘empty’ space for Japanese art, and then creating something positive from it. Sawaragi
argues that the originality of Neo-pop is expressed through the remaking of ‘borrowed’
cultural forms. For Sawaragi this represents a refusal of using the West as a mirror
through which to reflect Japan’s self-image. So like Murakami, Sawaragi takes the hybrid
identity of post-war Japan and uses it as an expression of original Japanese identity, albeit
ironically. processed into its ‘own’ thing’ (Sawaragi cited in Woznicki). Thus, for
Sawaragi the Neo-pop artists take this ‘negative’ situation of the post-war period as an
‘empty’ space for Japanese art, and then creating something positive from it. Sawaragi
argues that the originality of Neo-pop is expressed through the remaking of ‘borrowed’
cultural forms. For Sawaragi this represents a refusal of using the West as a mirror
through which to reflect Japan’s self-image. So like Murakami, Sawaragi takes the hybrid
identity of post-war Japan and uses it as an expression of original Japanese identity, albeit
ironically. processed into its ‘own’ thing’ (Sawaragi cited in Woznicki). Thus, for
Sawaragi the Neo-pop artists take this ‘negative’ situation of the post-war period as an
‘empty’ space for Japanese art, and then creating something positive from it. Sawaragi
argues that the originality of Neo-pop is expressed through the remaking of ‘borrowed’
cultural forms. For Sawaragi this represents a refusal of using the West as a mirror
through which to reflect Japan’s self-image. So like Murakami, Sawaragi takes the hybrid
identity of post-war Japan and uses it as an expression of original Japanese identity, albeit
ironically. processed into its ‘own’ thing’ (Sawaragi cited in Woznicki). Thus, for
Sawaragi the Neo-pop artists take this ‘negative’ situation of the post-war period as an
‘empty’ space for Japanese art, and then creating something positive from it. Sawaragi
argues that the originality of Neo-pop is expressed through the remaking of ‘borrowed’
cultural forms. For Sawaragi this represents a refusal of using the West as a mirror
through which to reflect Japan’s self-image. So like Murakami, Sawaragi takes the hybrid
identity of post-war Japan and uses it as an expression of original Japanese identity, albeit
ironically. processed into its ‘own’ thing’ (Sawaragi cited in Woznicki). Thus, for
Sawaragi the Neo-pop artists take this ‘negative’ situation of the post-war period as an
‘empty’ space for Japanese art, and then creating something positive from it. Sawaragi
argues that the originality of Neo-pop is expressed through the remaking of ‘borrowed’
cultural forms. For Sawaragi this represents a refusal of using the West as a mirror
through which to reflect Japan’s self-image. So like Murakami, Sawaragi takes the hybrid
identity of post-war Japan and uses it as an expression of original Japanese identity, albeit
ironically. processed into its ‘own’ thing’ (Sawaragi cited in Woznicki). Thus, for
Sawaragi the Neo-pop artists take this ‘negative’ situation of the post-war period as an
‘empty’ space for Japanese art, and then creating something positive from it. Sawaragi
argues that the originality of Neo-pop is expressed through the remaking of ‘borrowed’
cultural forms. For Sawaragi this represents a refusal of using the West as a mirror
through which to reflect Japan’s self-image. So like Murakami, Sawaragi takes the hybrid
identity of post-war Japan and uses it as an expression of original Japanese identity, albeit
ironically. processed into its ‘own’ thing’ (Sawaragi cited in Woznicki). Thus, for
Sawaragi the Neo-pop artists take this ‘negative’ situation of the post-war period as an
‘empty’ space for Japanese art, and then creating something positive from it. Sawaragi
argues that the originality of Neo-pop is expressed through the remaking of ‘borrowed’
cultural forms. For Sawaragi this represents a refusal of using the West as a mirror
through which to reflect Japan’s self-image. So like Murakami, Sawaragi takes the hybrid
identity of post-war Japan and uses it as an expression of original Japanese identity, albeit
ironically. processed into its ‘own’ thing’ (Sawaragi cited in Woznicki). Thus, for
Sawaragi the Neo-pop artists take this ‘negative’ situation of the post-war period as an
‘empty’ space for Japanese art, and then creating something positive from it. Sawaragi
argues that the originality of Neo-pop is expressed through the remaking of ‘borrowed’
cultural forms. For Sawaragi this represents a refusal of using the West as a mirror
through which to reflect Japan’s self-image. So like Murakami, Sawaragi takes the hybrid
identity of post-war Japan and uses it as an expression of original Japanese identity, albeit
ironically. processed into its ‘own’ thing’ (Sawaragi cited in Woznicki). Thus, for
Sawaragi the Neo-pop artists take this ‘negative’ situation of the post-war period as an
‘empty’ space for Japanese art, and then creating something positive from it. Sawaragi
argues that the originality of Neo-pop is expressed through the remaking of ‘borrowed’
cultural forms. For Sawaragi this represents a refusal of using the West as a mirror
through which to reflect Japan’s self-image. So like Murakami, Sawaragi takes the hybrid
identity of post-war Japan and uses it as an expression of original Japanese identity, albeit
ironically. processed into its ‘own’ thing’ (Sawaragi cited in Woznicki). Thus, for
Sawaragi the Neo-pop artists take this ‘negative’ situation of the post-war period as an
‘empty’ space for Japanese art, and then creating something positive from it. Sawaragi
argues that the originality of Neo-pop is expressed through the remaking of ‘borrowed’
cultural forms. For Sawaragi this represents a refusal of using the West as a mirror
through which to reflect Japan’s self-image. So like Murakami, Sawaragi takes the hybrid
identity of post-war Japan and uses it as an expression of original Japanese identity, albeit
ironically. processed into its ‘own’ thing’ (Sawaragi cited in Woznicki). Thus, for
Sawaragi the Neo-pop artists take this ‘negative’ situation of the post-war period as an
‘empty’ space for Japanese art, and then creating something positive from it. Sawaragi
argues that the originality of Neo-pop is expressed through the remaking of ‘borrowed’
cultural forms. For Sawaragi this represents a refusal of using the West as a mirror
through which to reflect Japan’s self-image. So like Murakami, Sawaragi takes the hybrid
identity of post-war Japan and uses it as an expression of original Japanese identity, albeit
ironically. processed into its ‘own’ thing’ (Sawaragi cited in Woznicki). Thus, for
Sawaragi the Neo-pop artists take this ‘negative’ situation of the post-war period as an
‘empty’ space for Japanese art, and then creating something positive from it. Sawaragi
argues that the originality of Neo-pop is expressed through the remaking of ‘borrowed’
cultural forms. For Sawaragi this represents a refusal of using the West as a mirror
through which to reflect Japan’s self-image. So like Murakami, Sawaragi takes the hybrid
identity of post-war Japan and uses it as an expression of original Japanese identity, albeit
ironically. processed into its ‘own’ thing’ (Sawaragi cited in Woznicki). Thus, for
Sawaragi the Neo-pop artists take this ‘negative’ situation of the post-war period as an
‘empty’ space for Japanese art, and then creating something positive from it. Sawaragi
argues that the originality of Neo-pop is expressed through the remaking of ‘borrowed’
cultural forms. For Sawaragi this represents a refusal of using the West as a mirror
through which to reflect Japan’s self-image. So like Murakami, Sawaragi takes the hybrid
identity of post-war Japan and uses it as an expression of original Japanese identity, albeit
ironically. processed into its ‘own’ thing’ (Sawaragi cited in Woznicki). Thus, for
Sawaragi the Neo-pop artists take this ‘negative’ situation of the post-war period as an
‘empty’ space for Japanese art, and then creating something positive from it. Sawaragi
argues that the originality of Neo-pop is expressed through the remaking of ‘borrowed’
cultural forms. For Sawaragi this represents a refusal of using the West as a mirror
through which to reflect Japan’s self-image. So like Murakami, Sawaragi takes the hybrid
identity of post-war Japan and uses it as an expression of original Japanese identity, albeit
ironically. processed into its ‘own’ thing’ (Sawaragi cited in Woznicki). Thus, for
Sawaragi the Neo-pop artists take this ‘negative’ situation of the post-war period as an
‘empty’ space for Japanese art, and then creating something positive from it. Sawaragi
argues that the originality of Neo-pop is expressed through the remaking of ‘borrowed’
cultural forms. For Sawaragi this represents a refusal of using the West as a mirror
through which to reflect Japan’s self-image. So like Murakami, Sawaragi takes the hybrid
identity of post-war Japan and uses it as an expression of original Japanese identity, albeit
ironically. processed into its ‘own’ thing’ (Sawaragi cited in Woznicki). Thus, for
Sawaragi the Neo-pop artists take this ‘negative’ situation of the post-war period as an
‘empty’ space for Japanese art, and then creating something positive from it. Sawaragi
argues that the originality of Neo-pop is expressed through the remaking of ‘borrowed’
cultural forms. For Sawaragi this represents a refusal of using the West as a mirror
through which to reflect Japan’s self-image. So like Murakami, Sawaragi takes the hybrid
identity of post-war Japan and uses it as an expression of original Japanese identity, albeit
ironically. processed into its ‘own’ thing’ (Sawaragi cited in Woznicki). Thus, for
Sawaragi the Neo-pop artists take this ‘negative’ situation of the post-war period as an
‘empty’ space for Japanese art, and then creating something positive from it. Sawaragi
argues that the originality of Neo-pop is expressed through the remaking of ‘borrowed’
cultural forms. For Sawaragi this represents a refusal of using the West as a mirror
through which to reflect Japan’s self-image. So like Murakami, Sawaragi takes the hybrid
identity of post-war Japan and uses it as an expression of original Japanese identity, albeit
ironically. processed into its ‘own’ thing’ (Sawaragi cited in Woznicki). Thus, for
Sawaragi the Neo-pop artists take this ‘negative’ situation of the post-war period as an
‘empty’ space for Japanese art, and then creating something positive from it. Sawaragi
argues that the originality of Neo-pop is expressed through the remaking of ‘borrowed’
cultural forms. For Sawaragi this represents a refusal of using the West as a mirror
through which to reflect Japan’s self-image. So like Murakami, Sawaragi takes the hybrid
identity of post-war Japan and uses it as an expression of original Japanese identity, albeit
ironically. processed into its ‘own’ thing’ (Sawaragi cited in Woznicki). Thus, for
Sawaragi the Neo-pop artists take this ‘negative’ situation of the post-war period as an
‘empty’ space for Japanese art, and then creating something positive from it. Sawaragi
argues that the originality of Neo-pop is expressed through the remaking of ‘borrowed’
cultural forms. For Sawaragi this represents a refusal of using the West as a mirror
through which to reflect Japan’s self-image. So like Murakami, Sawaragi takes the hybrid
identity of post-war Japan and uses it as an expression of original Japanese identity, albeit
ironically. processed into its ‘own’ thing’ (Sawaragi cited in Woznicki). Thus, for
Sawaragi the Neo-pop artists take this ‘negative’ situation of the post-war period as an
‘empty’ space for Japanese art, and then creating something positive from it. Sawaragi
argues that the originality of Neo-pop is expressed through the remaking of ‘borrowed’
cultural forms. For Sawaragi this represents a refusal of using the West as a mirror
through which to reflect Japan’s self-image. So like Murakami, Sawaragi takes the hybrid
identity of post-war Japan and uses it as an expression of original Japanese identity, albeit
ironically. processed into its ‘own’ thing’ (Sawaragi cited in Woznicki). Thus, for
Sawaragi the Neo-pop artists take this ‘negative’ situation of the post-war period as an
‘empty’ space for Japanese art, and then creating something positive from it. Sawaragi
argues that the originality of Neo-pop is expressed through the remaking of ‘borrowed’
cultural forms. For Sawaragi this represents a refusal of using the West as a mirror
through which to reflect Japan’s self-image. So like Murakami, Sawaragi takes the hybrid
identity of post-war Japan and uses it as an expression of original Japanese identity, albeit
ironically. it as an expression of original Japanese identity, albeit ironically.