The distorted rectangle is composed of a string of elastic material. Its four vertices are suspended with teguses, and each vertex moves up and down controlled by a motor. The tegus moves as if tracing the wave surface, and the rectangle appears to float on the wave surface. The viewer can experience the depth created by the dynamic movement of the rectangles and the perspective distortion, as well as the impression that changes with viewing position and time. Digital control and the material of thread, which cannot be completely controlled, create a new landscape that emerges between what is controllable and what is not.
This work was entered in a competition during the state of emergency caused by the coronavirus. Looking at a pandemic from a macro perspective, we realize that it is one of those once-in-a-century life science phenomena that could just as easily happen today, with all the advances in science and technology. In order to capture a long-span perspective, this work represents the ancient sea surface that would have existed at the exhibition site. At the same time, I wondered if it would be possible to bring natural scenery into the desolate underground space.
For example, the ancient Japanese garden method of karesansui, or "dry landscape," creates a rich landscape by precisely arranging rocks, trees, and buildings in relation to each other. And the landscape is filled with the uncertain changes in nature, such as weather, seasonal changes in leaf color, fallen leaves, and moss that forms over a long period of time.
In this work, the digitally controlled simulation and the uncontrollable analog behavior of the strings are visualized simultaneously, presenting a contemporary view of karesansui.
