Contemporary societies are experiencing a new phenomenon, such as husbands in their forties who spend hours playing video games, and young adults who watch cartoons and are obsessed with collecting toys and vinyl figurines. The postmodernist adult is now characterised by an unprecedented infantilist nature.

I found this figure of infantilism adult or also named as kidult is an archetype of an encouraging regression to facilitate the promotion of goods. Especially Japanese consumers are fanatical with cute kitsch. Japanese Neo-Pop artist and follower of Andy Warhol, Takeshi Murakami produces mass production of his artwork into a “cute” stuffed toy. I have always been attracted to the promotion of desire through cute imagery, objects and language. There is something inherently attractive in the perversities generally associated with cute things and the suspension it evokes when explored as an aesthetic form people generally see cute as a device to exploit something external to itself, probably because advertising tries companies but I’m sure it goes back much further. “Cute” offered freedom to evade seriousness or even reality.

Earlier, psychologist Donald W. Winnicott introduced the concepts of “transitional objects” and “transitional experience” on reference to particular developmental sequences. — for example, a child who is attached to a soft blanket or soft toys. With “Transitional”, Winnicott means an intermediate developmental phase between the psychic and external reality. In this “transitional space” we can find the “transitional object”/ Transitional object is a replacement of the mother’s breast and through the object, it instils in the child the feeling of worth living.

As Japanese artist, Yoshimoto Nara depicts nostalgia and his childhood with a sinister undertone through his work, he idealises his memory and the reality becomes even crueller. My work contains a lack of identity and ambivalent characteristics, and it suggests the in-between status of kitsch and art, cute and cruel. It is to create a space between laughter and discomfort where the viewer’s discomfort can also make them laugh, and viewers become confused about the mixed feelings. I think that is what makes some of the best art.