W5500 x H3000 x D10000 mm, plane size : W720 x H535 mm
Nov 23rd, 2019 - Dec 22nd Tokyo Arts and Space Hongo,Tokyo
Cooperation : Graduate School of Film and New Media, Tokyo University of the Arts, Philips Hue
“2D Painting” is an installation work on the theme of “spatiality,” which has been dealt with in the history of visual art, mainly painting.
The first work in this series was presented in March 2019, and this second work was presented in Tokyo (Tokyo Arts and Space Hongo) in November 2019.
This work consists of 3 rectangles cut out on a wall and 7 objects and multiple LED lights placed in the space behind it. As the illumination changes, the color pattern of the objects change at a constant interval.
The “2D” in the title refers to two types of “depth.”
This work is perceived as a two-dimensional image (pictorial space) depending on the special structure and color scheme that cause loss of localization, but actually the image is composed of objects arranged in three-dimensional space.
However, when the viewpoint and the viewing distance change, the work will be recognized as actual three-dimensional space through binocular parallax, motion parallax, focal difference and slight texture.
This work contains two depths: real three-dimensional space, and a pictorial space evoked by the two-dimensional color scheme. Viewers will cross between these two depths.
「2D Painting」は、絵画を含めた視覚芸術の歴史の中で扱われてきた空間性をテーマにしたインスタレーション作品である。2019年3月にシリーズ1作目を発表し、本作は二作目としてTokyo Arts and Space Hongoにて発表した。
This work has a structure that reverses the perception process of Maxwell’s spining color top, which created the basis of color notation with modern chromaticity diagrams.
It is printing gray circle images onto rotating the print medium
In this operation, the gray of the input image is destroyed and colors are generated by distortion in between the digital image and physical media as a picture plane, and visual perception.
The title discloses the operation during printing. “Gray30%” means that a CMY (cyan, magenta, yellow) 30% gray image is used as input, and “Rotation” means How degree of the axis rotates between the start and end of printing.
“Axis” is indicating the deviation of the rotation start position. By reading the QR code next to the caption, you can see a simulating process of printing. Compared with this simulation, it can be seen that various depths are added to the actual appearance of colors.
And you can find colors consisting of various elements, such as textures consisting of printer characteristics, and perception problems that result in incomplete retinal color mixing by expanding print dots.
The work consists of a thin hollow square, a sphere, a thin square surface and a background. Hollow square has ambivalent structure hold figure and the ground, and the sphere has a symmetry structure that the silhouette does not change from wherever it is seen.
This maiden work of series of “2D Painting” was experimentally pursues the basics of ideas that cause perceptual collision between two and three dimensions
Architect Chiaki Arai selected four historic tearooms and recreated them in the exhibition space using only the essential elements.
YOF explores colors based on visual principles. For this work, they create color-based visual communication using thread and light in the 22 tearoom windows.
The threads use only the three primary colors of light, namely red, green and blue. They are stretched in window planes using a 1-cm grid.
Each grid line is seven threads deep. Various colors are created by changing the distribution of the three primary colors among the threads (additive mixture of colors).
This work changes the hue of the illumination embedded into the windows in order to deal with color effects such as color cancellation and enhancement.In this way,the lighting transition expresses the faint light drifting in the darkness of Japanese tearooms.
In addition, the background remains visible through the wall-less tearooms and the threads in the windows. Thus, depending on the viewer’s perspective, moiré patterns emerge when there are discrepencies in how the threads line up.The result is various interactive experiences regarding color.
The windows overlap depending on POV, resulting in a variety of color appearances.
The threads in this window appear purple if you step back. This happens because there are 4 layers of blue threads and 3 layers of red threads.
These photograph series took a photograph which taken by iphone.
Displaying photos on the iPhone is taking a special way. It divides the image vertically from the side vertically for each pixel and displays it in order over a certain period of time (display by iOS APP ImageMapper made by me).
While displaying original photos on iPhone, I will shoot with another camera. By moving the iPhone and relocating it in the air while the shutter stay open. In this way the landscape photograph taken by iPhone will be re-fixed.
In this process of replacing the image of photograph, the iPhone which have camera and display use as media.
In panoramic shooting of the iPhone which is the first process, photographing while moving the device records hand tremor, shake of the axis, inevitable physicality.
Even at the time of photographing in the second process, physicality and improvisation resulting from moving the device are recorded as photographs.
Also, the picture generated by the panoramic shooting function is a special image rearranged in an algorithmic fashion based on data such as acceleration sensor, not the image prescribed by the perspective of the lens.
Even in the second shoot, the image drawn by the iPhone flutters like a curtain, sometimes overturned, compressed and stretched, the original perspective is broken down, and the viewpoint of camera is dispersed. In addition, viewpoints by viewers will wander in a very complicated structure.
this images made people witnessed the process of fixing such a image and asked about the contemporary meaning of photograph and image media.
Images are projected from a total of three projectors, two from the front and one from the rear on a screen suspended in the space. Three projected images are the same image, but the images of Red, Green only, Blue only overlap each other, and one RGB full color image is focused on the screen. The screen is a thin vinyl material, it shakes by the flow of air in the space and the viewer’s touch.
This fluctuation becomes a factor distorting the image on the screen. For example, if you swing toward to front side, the image projecting from the front is smaller, and the image from the rear is enlarged in reverse.
The single focal range projector expands a slight swing of the screen as the projection image. Conversely, the image projected by the telephoto lens does not interfere with slight fluctuation of the screen.
Multi perspectives of a lens of such a projection device are cut off on one screen.
Installation work consisting of seven color surfaces with different hues and lighting that illuminates each of them.
These color surfaces are designed not to be influenced by lighting and physically keeps a constant color at all times, but it makes us feel rich color through interaction with the changing environmental color.In addition, a perceptual kinetic effect is produced by the time lag of the contrast effect arising from the difference between the respective color surfaces.
Through this experience, viewers will witness that color is a phenomenon which appears relative to perception.