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Backstage

March 2024

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We are making digital stage videos for the Magic Flute opera.  The production was a continuous all-nighter, and we aimed to create an unpararelled stage design that answers the question of why is it being performed in Japan in this day and age.

We are making digital stage videos for the Magic Flute opera.  The production was a continuous all-nighter, and we aimed to create an unpararelled stage design that answers the question of why is it being performed in Japan in this day and age.

We are discussing details with the director and a stage manager.  Finely crafted video images are displayed to the fabrics on the stage.  The entire stage is video art.

We are discussing details with the director and a stage manager.  Finely crafted video images are displayed to the fabrics on the stage.  The entire stage is video art.

We are having detailed discussion with conductor Mr. Masato Suzuki, director Mr. Leo Iizuka, digital videographer Mr. Mucho Muramatsu and his assistant Mr. Riku Komiyama.  They are all leading experts in their respective fields and we aimed for much better stage, while respecting one another.  

We are having detailed discussion with conductor Mr. Masato Suzuki, director Mr. Leo Iizuka, digital videographer Mr. Mucho Muramatsu and his assistant Mr. Riku Komiyama.  They are all leading experts in their respective fields and we aimed for much better stage, while respecting one another.

 

It has been a long time since I've been to Naoshima.  I talked about how to translate the senses of impermanence that is expressed in Kamo no Chomei and the Tale of the Heike, ass well as my thoughts on Japanese paintings since Meiji era, which aimed to non-Western Modernism.

It has been a long time since I've been to Naoshima.  I talked about how to translate the senses of impermanence that is expressed in Kamo no Chomei and the Tale of the Heike, ass well as my thoughts on Japanese paintings since Meiji era, which aimed to non-Western Modernism.

I am discussing my work at the venue, named "Garden of Ku".  We talked about the use of unstable pigment such as silver to show how the work changes over time, and concept of "ku" as the result of impermanence.  

I am discussing my work at the venue, named "Garden of Ku".  We talked about the use of unstable pigment such as silver to show how the work changes over time, and concept of "ku" as the result of impermanence.

 

I'm at Daitokuji Jukoin in Kyoto. The temple is a sacred place for the way ot tea (ceremony), which spread all throughout Japan along with Zen Buddhism. The fresh flowers in the alcove complemented the works and calligraphy. I created the wall/fusuma paintings so that you can feel that Zen Buddhism and the concept of the paintings are the one in the same.

I'm at Daitokuji Jukoin in Kyoto. The temple is a sacred place for the way ot tea (ceremony), which spread all throughout Japan along with Zen Buddhism. The fresh flowers in the alcove complemented the works and calligraphy. I created the wall/fusuma paintings so that you can feel that Zen Buddhism and the concept of the paintings are the one in the same.

This is another alcove of Daitokuji Jukoin.  I aimed for painting that pure water that continues to flow, full of vitality, without a beginning or end.  Since this is a temple where Sen no Rikyu's tomb is located, I paid close attention to the expression of water.

This is another alcove of Daitokuji Jukoin.  I aimed for painting that pure water that continues to flow, full of vitality, without a beginning or end.  Since this is a temple where Sen no Rikyu's tomb is located, I paid close attention to the expression of water.

We are making digital stage videos for the Magic Flute opera.  The production was a continuous all-nighter, and we aimed to create an unpararelled stage design that answers the question of why is it being performed in Japan in this day and age.
We are discussing details with the director and a stage manager.  Finely crafted video images are displayed to the fabrics on the stage.  The entire stage is video art.
We are having detailed discussion with conductor Mr. Masato Suzuki, director Mr. Leo Iizuka, digital videographer Mr. Mucho Muramatsu and his assistant Mr. Riku Komiyama.  They are all leading experts in their respective fields and we aimed for much better stage, while respecting one another.  
It has been a long time since I've been to Naoshima.  I talked about how to translate the senses of impermanence that is expressed in Kamo no Chomei and the Tale of the Heike, ass well as my thoughts on Japanese paintings since Meiji era, which aimed to non-Western Modernism.
I am discussing my work at the venue, named "Garden of Ku".  We talked about the use of unstable pigment such as silver to show how the work changes over time, and concept of "ku" as the result of impermanence.  
I'm at Daitokuji Jukoin in Kyoto. The temple is a sacred place for the way ot tea (ceremony), which spread all throughout Japan along with Zen Buddhism. The fresh flowers in the alcove complemented the works and calligraphy. I created the wall/fusuma paintings so that you can feel that Zen Buddhism and the concept of the paintings are the one in the same.
This is another alcove of Daitokuji Jukoin.  I aimed for painting that pure water that continues to flow, full of vitality, without a beginning or end.  Since this is a temple where Sen no Rikyu's tomb is located, I paid close attention to the expression of water.