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Aude Moreau

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NR · WORLD
Published · Online

Feature · Aude Moreau
Words · Nicola Barrett

“I think what motivates my work is the word: privatisation”

Less is more or… is it? For visual artist Aude Moreau, whose works includes carpets of sugar that take up entire galleries or large scale installations that cut across the Toronto skyline, one cannot help think that ‘more’ is the grander option.

For the latter work, Moreau spelt out those same words “Less Is More Or” across the face of the Toronto-Dominion Centre’s skyscrapers. The buildings were designed by the German-American architect Ludwig Mies van der Rohe, and Moreau twists his famous maxim ‘less is more’ leaving it open to interpretation when juxtaposed with his towering skyscrapers. “I wanted to revisit the interpretation of the evolution of modernism and the possibilities of what is to come . . . to say ‘what now?”

Moreau’s practice encompasses her dual training in the visual arts and scenography. The time she spends creating her works range from years of painstaking preparation for ambitious installations to more short term interventions. She “focuses a relevant, critical gaze upon showbiz society, the privatisation of the public space, and the domination of the State by economic powers in today’s world.” NR Magazine joined the artist in conversation.

Much of your work is realised on a very large scale, how do you deal with the practicalities of seeing such ambitious projects through to fruition? 

I think it was my dual training in visual arts and scenography and then the fact of having worked in cinema that allowed me to develop large-scale projects. The theatre and the cinema are fields that depend on a multitude of skills in order to create a work. Also, a large part of my job involves surrounding myself with a team that can help me achieve my projects. In that sense, I act a bit like a producer.

There is a political element to your work, do you consider it a form of activism? 

Activism demands clarity of message, transparency that excludes contradiction or paradox. Art is polysemous. So I would say that it is ‘the political’ rather than politics that runs through my work.

Are there any particular concepts or inspirations which drive your creative process?

I feel like I often forget what guides me and at the same time always revolve around the same thing, without being able to name it completely. Each new project brings its own issues, its own context. Right now, I think what motivates my work is the word: privatisation. It is a term that we associate with economic vocabulary, but which, in its polysemy, describes complex realities which affect the ideological relations of our time. The criticism of the “spectacle”, the structures of power, the activation of already existing places, the ephemerality of the works, are various anchor points stated in the 70s and have nourished my practice.

Sugar can be quite a difficult substance to work with as it tends to clump together with even the slightest bit of moisture in the air. With Tapis de Sucre, was this an issue and if so did you try to stop it from hardening or did you consider the change in materials as part of the artwork?

I was not confronted with this reality during the “Sugar Carpet” installation. There have been several editions of the work in different contexts. I think it’s because the industry takes care of this kind of problem through different methods, including adding emulsifiers like magnesium stearate.

However, once the installation is complete, each accident remains imprinted on the surface without altering the trompe l’oeil and the overall vision. The accidents that mark the surface bear witness to the life of the place and momentarily shatter the trompe-l’oeil. These stigmas refer to the fragility of the work. It is the reversal of the monumental and its spectacle which echoes the fragility of our presences that makes the work moving. Like an invitation to cross the trompe-l’oeil to catch a glimpse of the deadly reality of this industry, both in its historical production methods and in its consumption.

Architecture seems to play quite a large role in your artwork, why is that?

Probably because architecture plays a big role in our daily lives. It defines our habitats, structures our movements, testifies to our time and our way of thinking while talking about previous eras. It is silent but contains in itself the production contingencies of an era, and bears witness to the historical, political, economic, technical, cultural and ideological contexts that it emerged from.

In this sense, Gordon Matta-Clark’s cuts in architecture greatly interested and challenged me. And the reading of Dan Graham’s text which puts in dialogue the cuts in the architecture of Matta-Clark and the concept of transparency in Mies van der Rohe through the question of the penetration of light was a major trigger in the process of creating my skyscraper illuminations projects.

What was the most exciting project which you worked on? 

The last project « Less is More or ».

What was the meaning behind showing your own version of Mies’ famous maxim ‘less is more’ on the skyscrapers he designed. Was it irony or something more complex? 

In fact, I modify the sentence of Mies van der Rohe by adding the word “or” to complete the occupation of the four facades of each of the skyscrapers. This has the effect of inscribing the sentence in a loop. “Less is More or Less …” This lessening of the affirmation refers to “post-modern” semantics which, while criticizing the modernist project (the great utopias, the desire for a social architecture, etc.), defends the idea that all points of view are equal. However, this equivalence of individual points of view creates new norms and forms of alienation.

So, this is not ironic towards the architectural achievements of Mies van der Rohe, but ironic compared to the flattened world we live in. A constantly updated world that works to erase traces at the same time as it blocks the horizon by creating disproportionate surpluses. Surplus of images, data, storage, memories, codes, goods, plastics, fashions, tastes, opinions, etc.

What do you want people to take away from your artwork? 

Questions and the feeling that anything is possible.

What advice would you give to young creatives interested in creating large scale and ambitious works? 

I would say that the large-scale works do not necessarily require large resources. However, it requires persistence. The realisation of the projects can take several years, even decades. Therefore, it is essential to ask the question of the need for an occupation of space of this type and to find allies. This is particularly true for projects carried out in public space.

Are you working on any projects at the moment and what plans do you have for the future? 

Yes, I am working on my next exhibition which will take place in January 2022 at the Bradley Ertaskiran Gallery in Montreal. A new corpus that will bring together sculptural and two-dimensional works around the issue of melting ice. Inspired by a brief trip to the Rockies in Alberta, visiting the Columbia Icefield and especially the Athabasca Glacier. The geographic context is particularly significant given the proximity of the glacier and the oil industry in the province.

In the longer term, I would like to achieve “the Blue Line”, which is ongoing. This is an ambitious project, the idea of which germinated about 10 years ago, and which has gone through different phases of development without being completed to date. It is about drawing a line of blue light 65 meters high on the facades of 20 buildings bordering the East River in the Financial District of Manhattan. The height corresponds to that of the rising waters if all the ice on the planet melted. When I think about this project, I tell myself that it must be done now, there is a sense of urgency that rises.

Zantz Han

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NR · WORLD
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Feature · Zantz Han
Words · Matthew Burgos

“To truly appreciate light is to observe it intentionally everyday”

Light: a single word draped with a plethora of definitions. It may be about the metaphysical virtues and beliefs that crouch into the human traditions, an object that wounds into the fixtures of homes, or for Zantz Han, an essence in photography. The Singapore-based photographer employs light to charge his images with character and underscore the colors that accentuate his mood, the subject, and their overarching philosophy. As he confesses his reverence for moving versus still images, Han recalls his voyage towards capturing portraits and how color, expressions, and the vision of self immortalize his every shot.

Let us go back to your roots in photography. Before pursuing this medium as your primary means of communication to the world, what influences and incidents triggered this penchant to photography? Was it rooted in your upbringing, or did you discover it during your studies?

I studied animation during my college years, and I was specifically interested in 3D lighting and rendering, but I chanced upon photography during a sub-module course provided by the school and decided to pursue photography as a career later on.

You desire to evoke the senses of your audience when they rifle through your portfolio. What are the senses that you envision to be provoked? How would your images tap into your audience’s emotions and reflections? Why is there a desire to carry this out?

In the sea of content and moving images, still images have less of an impact now. I hope to evoke a good feeling or any sort of feeling to the audience so that they can have a second look at the picture. I wanted the picture to have a lingering effect on that instead of just being another still content – a sensation or nuance of something they can take away from looking at the images.

 

As your concluding statement on describing your photography, you have mentioned the union of art with commerce. In what ways do you marry art and commerce through photography? Also, how do you define art and commerce? Are they separate or combined entities?

My idea lies in creating a business through art and being able to sustain a living through the art that I create. Here, art converges with commerce.

In some of the still images you captured, you induced the stark shade of red/orange in the shots. How do colors influence your photography? What role do your emotions play in your photography? Also, do you relate to the emotions your subjects exude during a shoot?

I think color plays a big part in my photography because it evokes a sense of emotion that brings the picture to life. Growing up, my taste in colour treatment and lighting started to evolve because of the experiences I encountered, and I try to translate them into the pictures via the mood, tone, emotions, and color.

The overview page on my portfolio or website is a collection of recent works that I produced by channeling my inner frustrations into pictures; the darkness and stark reds are strong emotions that I want to portray having experienced them all by myself. The emotions in the pictures are essential in bringing out the story behind it and to evoke a feeling within the audience.

Going through your Overview page, I notice how portraits infiltrate this section. How do you perceive portraits? Are they a reflection of who you are as an artist? What other styles of photographs have you explored?

I think portraits are an easy go-to and the simplest form of human photography. I like to explore still life and documentary photography too.

Your style crosses the boundaries of ethereal and surreal pop, dreamy and hazy vibes, and solemn looks. Do you define your approach in photography, or do you go for a more free-flowing manner? How do you transition from one mood to another? Is it an easy move to do?

I approach photography through my mood and feeling, and express them through the crafting of light, expressions, and colors. The transition depends on the chemistry between the subject and myself, and how expressive the subject can be.

I have also noticed the play of light in your photographs. In some images, the light seems to be subdued, while vibrant in others. How essential is light in your photography? Do you plan its use, or is it more spontaneous? Then, does light – in its figurative, metaphorical, or obvious term – mean anything in your life? How do you incorporate these beliefs in your art?

Light, something that is very sensitive to the eyes and camera, is one of the essence in photography. To truly appreciate light is to observe it intentionally everyday. I like to take my time in constituting my light and modifying its quality to my taste to match the mood and tone I am envisioning.

Light, in its simplest form, provides energy to all life forms. It is essential in creating imagery because it brings the picture to life. It gives it a soul; without it, everything will be pitch black.

Random International

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NR · WORLD
Published · Online

Feature · Random International
Words · Nicola Barrett

“Don’t think about doing something too long; do it, and think with your hands while doing it”

Have you ever stood in the rain and not gotten wet? If you ever visit Rain Room created by Random International, a collaborative studio founded by Hannes Koch and Florian Ortkrass, then this is something you can experience for yourself. Rain Room is an interactive art work that uses motion sensors to allow visitors to walk through an artificial downpour without getting wet and is the work that thrust the art collective into the public eye in 2005. Since then Random International has continued to create work that invites the viewer to actively participate and questions “aspects of identity and autonomy in the post-digital age.” The collaboratives studio’s aim to “explore the human condition in an increasingly mechanised world through emotional yet physically intense experiences,” and they “aim to prototype possible behavioural environments by experimenting with different notions of consciousness, perception, and instinct.” NR Magazine joins Random International in conversation.

Rain Room is perhaps your most well-known work, but which of your other works was the most exciting to work on? 

Audience (2008) was certainly a game-changer for us; it integrated several research directions that had been previously isolated: it looks at our emotional reaction to simulated life forms, it recognises body-in-space, and it starts to animate a more architectural sphere.

On the other end of the spectrum, we are enjoying working on Body / Light (2021), which is bringing an augmented and time-based elements into an immersive form of engagement.

Lastly, we’re in the pre-production stage/creation phase for a number of new bodies of work; while the pandemic has certainly been a huge challenge, it did allow space for deepening our experimentation with ideas, processes and technologies.

Are there any new technologies are you particularly interested in incorporating into your art practice?

Any technology that supports us in expressing ourselves in a language that everybody can understand is of interest to us…so we don’t really have any preferences. There are however various (diverse) areas of science that we’re paying a lot of attention to, such as different areas of decision making research, developments in machine learning, some obscure branches of behavioural science, cognitive neuroscience (focus on distributed forms of cognition), Kinaesthetic learning et al.

What do you think it is about interactive and immersive art that makes it so universally popular? Do you think peoples’ shortening attention spans due to the influx of information they receive each day from their phones will necessitate even more engaging works in the future? 

There’s an analogue, physical component to engaging with a sculpture in a space that cannot (yet) be met by screen-based forms of engagement. Maybe humans are still designed to feel safe in a real, physical space where the known rules apply or at least most of them. So that’s why we continue to seek out and share real, physical experiences.

You have stated you are interested in examining our ‘automated future’, how do you think technology, particularly AI, will influence your lives in the future, specifically in the art world? 

It looks like we’re increasingly surrounding ourselves with machines and processes that are designed to ‘read’ us, draw their own conclusions and then respond to us accordingly. All – as with most advancements in the past – to make our lives easier (predictive text actually suggested ‘easier’ after I typed ‘lives’ just now!) and safer.

The issue is that we’re not entirely compatible with those kinds of transactions; we are not wired to fully grasp the consequences of our actions and thus one could see us getting into all sorts of trouble, existential & comical alike. Questions re the transfer of agency (i.e. can an algorithm be an artist?), distributed creation processes and algorithmically curated experiences are probably some of the topics that we’ll see flaring up some more soon in the art world. Not to speak of entire macroeconomic ecosystems that are emerging (NFT’s) and likely here to stay.

Has the pandemic affected you and your approach to your art practice and if so how?

Yes. While we were already working very zoom based and in several countries/time zones already, we took the time to refocus our practice on some core themes and allowed ourselves the luxury to dive deeper into some of the topics that previously often dried up once a show was up or a commissioned work opened. Going for depth rather than breadth is something that was incredibly energising and something that we definitely continue to cherish and honour now that the pace is picking up again.

What do you want people to take away from your work?

A different perspective on the world and their own place in it.

In contrast to your use of technology, a lot of your work seems to be influenced by forms and phenomenons found in nature. Is this the case and if so why?

We’re obsessed with the ingenuity of our human species and the bandwidth of our perception, just how far and how deep it goes. So at the core of most of our work is the human form, the human condition and our emotional reaction to an increasingly automated and dematerialised world. Nature and natural phenomena connect us: to ourselves, to others and to the world around us. So they make brilliant material for art making!

How do you approach working collaboratively and what are some of the pros and cons of working as a collective?

We can’t not work collaboratively, it’s as simple as that. As a studio, we are a machine that is at its best when we generate knowledge and meaning in the creation process. Flo and I and the group that works with us do have a thing for communication; the complexity of the work dictates that we look at it from a lot of different angles. And our team, through brilliance and diversity, enables the studio to take on large, international projects in an efficient manner.

What advice do you have for young creatives who are interested in working with art and technology?

Don’t think about doing something too long; do it, and think with your hands while doing it.

Technology is a tool, not the aim.

Are you working on any projects at the moment and what plans do you have for the future?

We were commissioned by the BMW Arts Group to develop our work No One Is An Island in partnership with Studio Wayne McGregor and a score by chihei hatakeyama. Due to the pandemic, we had the opportunity to do an intimate rehearsal in London in October last year, and are planning to bring performances of that work to Frieze London in October 2021. We’re also working on several; different exhibitions and group shows to present a new body of work on Swarm Algorithms later this year, and we’ve celebrated three years since opening our Rain Room at the Sharjah Art Foundation this year. With Pace Gallery’s new spin-off Superblue, we’re working on several exciting outings so do stay tuned!

For more information, please visit random-international.com

Tobi Shinobi

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NR · WORLD
Published · Online

Feature · Tobi Shinobi
Words · Nicola Barrett

“Shoot what you love and love what you shoot”

Self-taught and award-winning photographer Tobi Shinobi has worked in many major cities around the world. He is known for his distinctive images of architecture and symmetry for which he gained recognition on social media. Born in East London, Shinobi worked as a litigator before his hobby of snapping pictures on his camera phone became his full-time job. Now, when he’s not jetting off around the world and working on commissions for companies like Apple, Audi and Coach, he haunts the streets of Chicago, capturing the city with his unique style of street photography. NR Magazine joined the photographer in conversation.

What is it that makes a good photograph stand out from the rest, particularly with the over-saturation of photography that we see on social media every day? 

I really appreciate great composition, something that catches you almost immediately. Though the photo doesn’t need to be technically perfect to be great, it helps if the photographer takes the time to nail the focus and avoid distracting features which can detract from the ‘illusion’ that the picture aims to create. When I take a picture I’m trying to get you to see what I see and bring you into my world, distractions destroy the seamless transition from someone’s reality to my surreality. With that being said, a good photo can be portraiture, street, architecture, or a great shot of an event: it doesn’t matter – a good photo just catches you.

Does your approach to your photography change depending on which city you are working in and if so how?

My approach doesn’t change particularly unless I have to be particularly mindful of my surroundings. Some places that I have been aren’t the most visitor-friendly tourist spots, so sometimes I have to be aware. With that being said the usual respect and appreciation for the locals and their customs and some good old fashioned street smarts has kept me in good graces. There are many times when I capture street photography and locals don’t necessarily appreciate their photo being taken and I respect that entirely.

What was the most exciting project you worked on and why?

Honestly, I don’t have a single project that I can point to that has been the most exciting one. I have been blessed with a lot of cool experiences, I guess I can say working with Sony last year, I was in front of the camera for a shoot for the launch of their long-awaited A7s3. It was a secret so I couldn’t tell anyone and one or two of my shots actually made it into the final video. I was also featured in front of the camera for Lightroom, as one of their ambassadors, showcasing my architectural photography around Chicago. Both great experiences during a challenging year.

You were a lawyer before you became a freelance photographer. Does your background in law ever influence your photography work and if so how? 

Up until very recently, the vast majority of my work has focused on balance and perspectives. In a literal sense, this has presented itself as a heavy focus on symmetry and geometry. My fascination with these themes forms the basis for my first solo photography book Equilibrium. The metaphor of balance in my work shows up in a number of ways. One example is one is that there have been occasions when it would seem that my work appeared to be too “urban” to be mainstream and too mainstream to be “urban”. To bring it back to the question, the theme of perspectives comes from my legal background where I learned to always consider the other side’s ‘arguments’. I had to consider other people’s points of view, so as to be armed with the best argument. Similarly, symmetry can be seen as me trying to get my visual message across, in as straightforward a way as possible. 

“These themes have also been a subtle nod to me seeking to address the imbalances I come across in life. Namely my own personal challenge of feeling that I don’t quite fit in, no matter where I am.”

With photo-sharing apps like Instagram getting your photography out there has become easier and easier. However, do you think there are negative sides to apps like these and if so what? 

Apps like Instagram have great upsides, it’s important for me to say as much, given how much it has changed my life for the better but there are also some challenges that come with it. The mental strain that comes from the pressure to always produce quality work is a lot. The algorithm rewards consistency. Artists aren’t factories that can just churn out work. We need time to live life, learn, laugh, loathe and then live some more. Consistency is only sustainable for so long. I hope app and platform developers start to realize the strain that they are putting on artists and act accordingly.

Are there any photographers and artists that you draw inspiration from or are particularly interested in? 

One of my favourites in recent years is Carlos Serrao, he is a photographer’s photographer and I am a big fan. I have also been blessed to be able to make a friend and mentor out of the legend that is Sandro Miller. A great human being and an awesome source of inspiration. I take inspiration from all over really. It could be music, religion, sport, film, comics, anime, art you name it. I just consume and then feel that creative spark to create my own and then share. I also take inspiration from the people around me which is why I think it is of the utmost importance to make sure that you surround yourself with positive, creative and inspirational people. I came across a quote the other day that said ‘show me your friends and I will show you your future,’ and I think there is some truth to this notion that the people you surround yourself with will have a profound effect on your outcomes.

You use drones for a lot of your shots. Do you find that the tightening restrictions around drone use, particularly in cities have hindered your work? 

To be honest yes it has slowed things down but I understand why the authorities have had to take some of the steps that they have taken. Some people have little regard for others and have endangered some folk so the authorities were bound to clamp down on it.

What are some of the best spots in London for street photography? 

I’d have to say that Shoreditch and Soho are the best spots in London for the best street photography. You can get some cool stuff in the Square mile too. An 85mm or a 50mm and you can capture some gold at the right time of day.

What advice would you give to young creatives who are interested in photography? 

Keep shooting. Shoot what you love and love what you shoot. Spend more money on travel than you do on equipment. Chase the dream, not the competition. And by this I mean it is easy to just do what everyone else is doing in terms of your style and there is an element to which we learn from imitating others but at some point, you will need to discover and nurture your own style and not rely too heavily on the influences of all those if you want to stand out.

Are you working on any projects at the moment and what plans do you have for the future? 

I’m always thinking about some project or another. I am going to keep on being the best Tobi that I can be. Continuing to evolve, marinating in my creative process. Really trying to sit on it and not force or rush it. That’s going to include video, music in some form, maybe collaborating with musicians. I have agency experience and I have the freelance experience. I do dig down and bury into the artist route or the employed route? I work in the Creative Lab at TikTok as a Creative Strategist, teaching big brands how to make. better TikToks. I want to collaborate with cool people around the world and enjoy all the opportunities that come with that. With everything opening back up I am in the process of planning what the next chapter looks like.

Credits

Images · Tobi Shinobi
http://www.tobishinobi.com/

Dinu Li

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NR · WORLD
Published · Online

Feature · Dinu Li
Words · Nicola Barrett

“Sometimes the not knowing can be the work itself”

Have you ever looked at an old photo of a family member and wondered at the moment captured in the image? Did you flip through stuffed albums and make up stories in your head about the pictures you saw there? If so, you might have something in common with multimedia artist Dinu Li. Born in Hong Kong, his family emigrated to the UK in the early ‘70s. Li draws inspiration from archival material, incorporating history, memory, and invention in his work whilst emphasising appropriation and reconfiguration. Examples of his work range from a fictional documentary inspired by his cousin’s experiences in a Cultural Revolution labour camp, ‘portraits’ of the bedrooms and possessions of illegal immigrants working in London’s Chinese restaurant trade, and a re-tracing of his mother’s life travels from China to Hong Kong and then England. “In his practice, Li examines the manifestation of culture in the everyday, finding new meaning to the familiar, making visible the seemingly invisible” and his work “is often characterised by problematising the document as part of the modus operandi.”

You have spoken about how you were drawn to the photograph of your cousin holding what looks to be a radio but is instead a painted brick. Is this camouflaged reality something that inspired you to incorporate an element of fiction into your archival works?

I’ve had this old photograph of my cousin since I was a kid, showing him as a young man in a labour camp. It is interesting how easily we are fooled into believing photographs as a representation of truth when in fact, it is so unreliable. For so long I was convinced he was listening to a radio, until decades later, when he told me it was a brick painted to look like a radio. The aerial was simply a bamboo shoot, stuck on the side and the brick was painted with nobs and buttons. Even more surprising was when I asked if he heard anything from the make-believe radio and he said he heard the love theme from the film Doctor Zhivago.

You spoke of uncertainties of memory when working with your mother on The Mother of all Journeys. Do you find it frustrating that certain personal histories are lost due to lack of documentation or the fallacy of memory?

It is not so much about it being frustrating, rather it is perhaps inevitable that we humans will get our own histories mixed up by confusion and inaccuracies or imbue our own past with figments of our own imagination. There are also the complexities of someone telling you their past, and for you to retell it back to them, as they had long-forgotten aspects of their life journeys. So, there are lots of opportunities to slip up and our abilities to recount something precisely may well be unreliable.

Do you think that activism in art can be a way to inform positive social change? And do you feel that in recent years, particularly in western media, that activist art has become a social trend that is more performative than helpful? 

As always, art influences real life and vice-versa. Life is full of dualities constantly rubbing against each other. For example, how the global is connected to the local, and how the private is related to the public. There is also one’s personal life interconnected by politics. Whether we embrace politics or not is not the point. The point is that politics comes to us whether we like it or not. I recently went to see the Artes Mundi prize in Cardiff and all the works shortlisted were fully loaded by political points of view, often quite upfront. One of the exhibiting artists Meiro Koizumi made a video work about the legacy of the Second Sino-Japanese War. I found him very brave in using art to confront a very difficult and often taboo subject for many Japanese people. He had collaborated with a group of young Japanese people and got them to recite passages from a diary written by an ex-army officer about what he had witnessed during the massacre of thousands of Chinese people at the hands of the invading forces.

“There was something extremely compelling about these young people, not only reading out loud something they’d rather not think about but doing so in the high streets of urban Japan, where passers can’t avoid overhearing atrocities from a dark moment in their history.”

The work was confrontational, but it needed to be.

I think the toppling of the statue of Edward Colston in Bristol was a positive thing. There was a lot of media coverage at the time, as the pulling down coincided with several similar dismantling. Obviously, there is always the danger that some people are more pro-active when there is media attention, as they may join in for a bit of fun, or simply interested in standing in front of a camera. But that does not mean the original impetus should be curtailed by people exploiting the situation for self-gain. The whole point of Colston’s statue being dumped into the sea is the absurdity of the statue in the first instance as well as the rude awakening of what he represented. So, the more noise the better.

You have stated you are working on something autobiographical, “delving into your youth when you were immersed in black culture”. Can you tell me more about this project? And what is your opinion on artists and creatives making work about cultures outside of their own. 

In my case, I feel it appropriate to make this work. It feels urgent and necessary, even if it’s just for my own benefit. I went to a school in inner-city Manchester that was quite diverse and was immediately drawn to a group of Jamaican youths. We hung out and went to blues parties together in Hulme and Moss Side, and very quickly I became a massive fan of dub. I loved the echo, the reverb and the repetition of a vibe, emphasised and heightened by the sound systems.

The genesis that led me to develop my new work was a recent rediscovery of a song on YouTube that I had heard as a young child growing up in Hong Kong where I was born. The song is called Always Together sung by Stephen Cheng who flew to Jamaica in the mid 1960s to record the song. The first time I heard it as a six-year-old, I took it for granted it must have been yet another traditional Chinese folk song. On hearing it again all these years later, I now realise it is in fact an early day rocksteady tune, which became a cult classic that helped shape the sound of reggae years later.

Thinking back to the triggers that allowed those Jamaican youths and me to instantly form a connection, I would say had a lot to do with cultural phenomenon’s that we valued. For example, what Bruce Lee stood for both in his movies and perhaps more significantly in his off-screen life. Besides him kicking ass, there was something about his dress sense, the way he walked, his mannerism that somehow brought people together. And of course, many artists find inspiration from other cultures. When we think about break dancing and body-popping, we see a mish-mash of inspiration from moves the dancers would have witnessed in a kung fu movie by a cartoon character. The 1990’s hip-hop group Wu-Tang Clan is another example of artists finding inspiration from cultures outside their own.

In addition to being involved in Afro-Caribbean culture in your youth, you were also involved in your school’s Anti-Nazi League. You said that ” I think mainstream society at the time was not ready to see a Chinese punk rocker walking around in the suburbs of Yorkshire.” How do you think alternative scene culture has influenced your artwork? 

It goes hand-in-hand. My life is my work and my work reflect my life. I am as interested in pop culture as I am in embracing sub-cultures. In my artwork, I avoid easy classification. I resist clear demarcations and I would not box myself in. I don’t want to make work that is easy to interpret. I like to subvert, to delineate, to contest the status quo. I am not interested in things easily understood.

“I prefer complexities, making works that are multi-layered and generous to being interpreted in many ways. I am looking for possibilities.”

What is the most interesting history/story you have come across during your work? 

I was dropped off once inside a dense bamboo forest in southern China, roughly the size of England, and stayed there making a film for a month. It felt as if I was the only human being there for about ten days before an old guy walked by. He stood there momentarily watching me filming the forest and then said bamboo made China before he disappeared. He is not wrong when you consider what one can make out of bamboo. For example, hats, chairs, ladders, chopsticks, tables, raincoats, shoes, window blinds, houses, baskets, toothbrushes and so on.

You have spoken about experiencing racism as a young boy when you first moved to the UK. Is this something that you have explored, or would consider exploring in the future, in your work, especially considering the recent rise in hate crimes against Asian people? 

I’m thinking a lot about the soil beneath our feet as we walk the earth. I have a vivid memory of being seven years old, having moved from Hong Kong to Sheffield and being pinned against a brick wall outside my house by two boys who lived a few doors away.

“After they had dished out their beatings, they finished off by scooping handfuls of soil before stuffing it in my pants and shouting get back to where I came from.”

From a conceptual point of view, there is something really interesting about some sort of walking performance, retracing one’s journey backwards, to one’s former home. It is no longer there to be found, yet quite ubiquitous is a trail of soil connecting the start of the backward walk to somewhere without an endpoint.

A lot of your work revolves around your family and their personal experiences. What are their reactions when they see your final artworks and how do they feel about being involved in your work?

I think the reaction varies depending on the project and who it’s about, or who it’s not about. It can be a very intense experience for whoever I am focusing on. We all have pasts we rather leave behind. And so, it can sometimes feel uncomfortable when I ask too many questions about a particular moment in time that someone does not want to revisit.

I have collaborated with my mum more than once. The first time on a monograph that involved many trips down her memory lane. I think my dad was a bit jealous the project was not about him, even though he features fleetingly in the project. In the end, the work was about my mum.

“I wanted to give her a voice so that the work acted as some sort of redress for herself and countless women of my mother’s generation, who mostly spent their lives serving the interest of their husbands.”

That project premiered at the Victoria and Albert Museum as a slide projection installation inside the Raphael cartoon court. It is a massive room, so the projection had to be huge to avoid being lost in the space. Naturally, the museum draws massive visitor numbers, which my mother and I was not prepared for. So on the opening, it was quite daunting having so many people filling the room, staring at the slide show, then staring at my mum. I don’t think she felt comfortable being famous for five minutes.

What advice would you give to young creatives who are interested in archival works and exploring their own culture? 

Be open-minded about what is on the surface and what one might discover beneath by digging deeper. Be equally open-minded that whatever is revealed, whether from a photograph or one’s own culture could well be staged, manufactured or mediated. Also, be mindful one may never find all the facts or all the truths behind something. And bear in mind having all the facts and truths does not mean one will make interesting work.

“It can be useful learning when to stop one’s investigation or research. Sometimes the not knowing can be the work itself.”

What projects are you working on at the moment and what plans do you have for the future? 

I have just completed a new video piece, again in collaboration with my mum, called The Ghost Orchid Gesture. The film unfolds in several typical English landscaped gardens during spring at the cusp of blossoming exuberance. My mum plays the sole protagonist, a masked old woman whose movements embody different creatures and plants. I was interested in using ancient wisdom, folklore and shamanist dancing rituals to explore the epoch of the Anthropocene we are currently living through, where our actions are causing the near extinction of a rare plant species called the ghost orchid. The orchid is not seen in the film, except for the movement of its life cycle as represented by the old woman’s hand gestures, as she mimics the manner in which it may twist and turn against the breeze.

 

Credits

Images · Dinu Li

Kensuke Koike

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NR · WORLD
Published · Online

Feature · Kensuke Koike
Words · Nicola Barrett

“Single Image Processing”

Born in Japan and now based in Venice, Kensuke Koike works with a surrealist playfulness to challenge the possibility of creating images. In deconstructing and re-forming vintage and archival photographs into carefully distorted pieces, Koike breathes a new life into found photography. There is a sculptural quality to Koike’s work, and his reconfigured photographs and postcards have a humorous, yet perplexing energy instilled in them. 

Koike’s practice focusses on the possibility of reinvention within an image and involves using analogue collage techniques and working solely with the existing elements of an image. The result is an impressive body of work with unique and contemporary visual narratives that the artist has defined as ‘single image processing’. In using found objects and reviving vintage photographs in this way, Koike creates a dynamic way of working, with each piece exposing different facets of the culture and truth of image making.

Koike seeks to create meaning from an existing object, and his use of found images in combination with the handmade formation of each piece feels incredibly nostalgic and gives a surrealist twist to a vintage era. Koike is more than a just a collage artist – he is as much a videographer, a sculptor, and a puzzle maker – and the videos he makes and shares digitally show his interest in contemporary creative methods. Koike also includes performative elements in his work. It is in this variation of his practice that and understanding of both the humour and reverence with which Koike creates his vision can be found.

Credits

Images · KENSUKE KOIKE
and THE PHOTOGRAPHERS GALLERY

Discover more here thephotographersgallery.org.uk
Kensuke Koike’s work can be found here kensukekoike.com

The Photographers’ Gallery in London presents ‘Re-composed’ until 27th June, where a unique selection of Koike’s work is available to purchase.

Alec Soth

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NR · World
Published · Online

Feature · Alec Soth
Words · Nicola Barrett

“Alec Soth does wander but he does it in a territory that he knows best”

When you think of an exhibition from a world-famous photographer, it would not be unusual to assume it would be located in a big city known for its rich cultural heritage such as London, Tokyo or New York. Certainly, your mind would not immediately go to a tiny green island between England and France. But Guernsey, which is part of the Channel Islands, is where you can find photographer Alec Soth’s exhibition Looking For Love.

Of course, this is not the first time a big name has been associated with the island, it was the home of exiled Victor Hugo and inspiration for his book The Toilers of the Sea. There are several paintings by Renoir of the rocky coves and caves of the southern cliffs. In addition to this, the Channel Islands were the only part of Great Britain that was occupied by German forces during World War II and this history inspired the best selling novel and subsequent film adaptation The Guernsey Literary and Potato Peel Society. 

In recent years the island has also become known for its photography festival involving well-known photographers such as Martin Parr CBE and Mark Power. Now the Guernsey Photography Festival welcomes Alec Soth to that list for its ten year (plus one due to delays caused by the pandemic) anniversary.

Alec Soth is an American photographer who was born in Minneapolis, Minnesota. He gained fame for his colour photographs which he takes on a large-format camera. His work has been described as being based in the ‘documentary style’ and much of it consists of the people and landscapes in the rural and suburban American Midwest and South.

This particular exhibition of Soth’s work ‘Looking for Love’ consists of earlier works of his, taken before the projects which propelled him into the spotlight of the art world. NR Magazine was joined by Jean-Christophe Godet who is the Artistic Director of the Guernsey Photography Festival and the curator of ‘Looking for Love’ at Guernsey Museum at Candie.

Upon entering the gallery one is greeted by a sea of black and white photographs of people with a few landscapes dotted in here and there. The introduction on the wall tells us, in Soth’s own words, about the time in his life that the pictures were taken. Jean-Christophe Godet expands on that text. “People think this exhibition is one project but it isn’t, it’s a collection of projects. This was a time when he was quite young and feeling miserable, as we all do when we are young. He didn’t know what he wanted to do with his future but was still interested in photography. His job at that time was to work in a photo lab where he processed all the films. In the evening he would go to bars, and meet people and take their photographs. At this stage, he was in a learning process. That’s why we were interested in this exhibition because we wanted people to know where Alec Soth came from.”

The photographs in this exhibition were not taken on a large-format camera like much of Soth’s work, Godet explains, but on medium-format. “The next projects he did, which is what he became famous for, that’s when he started shooting on large-format with the big camera. He likes taking his time when he shoots people, so setting up the camera gives him a chance to meet and talk with the people. It helps him relax as well because he’s an introverted person. He’s the type of guy, if you sit next to him on a plane, he won’t talk to you. He learned how to be more social from doing this exhibition.”

Godet walks over to a pair of photographs, “There’s no story in this exhibition. Soth liked that, it’s up to you to decide the story of the characters you are going to meet. From a curatorial aspect, I wanted people to be able to infer their own meaning onto each picture, but also at the same time some pictures work together to tell a story.”

He points at the duologly, “For example, I decided as a curator to put these two pictures together. The two middle-aged men in one picture appear to be looking at the young girl in the other, who seems to be flirting with a boy. You question who the girl is and if that’s her boyfriend? Then when you put the two pictures together you question if the two old guys are at the same party? Are they perverts or are they nostalgic about the time when they are younger?”

Godet gestures to the rest of the exhibition enthusiastically “There’s no information about these images because Soth is more interested in human nature. He’s not a documentary photographer, he’s not telling the story of the people in a town in Midwest America, it’s more about understanding feelings and emotions. He wants you to decide the story behind them. He wants you to imply your own experiences onto them.”

He leads me to another image, this one of a young man in a suit, easily missed in the sea of photographs. “This is Alex Soth’s self-portrait. He took it the night before he was getting married. He looks quite relaxed, maybe half drunk and he looks like he is feeling quite satisfied with himself. There is something there that he is trying to tell us because his work is always about him as well, it’s about the way he feels and relates to the world. At the beginning of the exhibition, we are told that he is miserable and alone but now we discover that at some point during this project, looking at people looking for love, he found his love, in some way, by getting married. But it’s up to us to decide how we think he is feeling about this.”

Godet beckons me to the centre of the room. “In this central part of the exhibition, we changed the tone so it looks like it could be the inside of a bar or a club. In this section I was able to put three generations of three different women telling their own story. The young teenager clinging to her lover, the middle-aged women on her own in a bar looking strong but also a bit lonely, and finally the glamorous old lady with her cocktail. I love how, with Alec Soth, you can connect these together. This exhibition is about loneliness and searching, about feeling disappointed and neglected but also hope. Overall it’s kind of dark and lonely because that’s how he felt at the time, but there are plenty of layers. For me, I think that’s how he became famous because he reaches us with his human emotions which is universal.”

He continues walking around the exhibition. “He’s not trying to impose anything on us, by saying ‘oh look how beautiful that is’ or ‘I’m going to show you what love is’, it’s up to us to integrate the raw human emotions he has. You need to take your time to absorb the photos, it’s not like the Wildlife Photography of the Year exhibition. It’s not like ‘oh that shot is spectacular’, and then you forget it when you move onto the next one. With Soth’s work, it’s like you suddenly slow down and you really appreciate how much is in each photo. The images are so strong they stay in your mind for a very long time.”

Back near the start of the entrance, he points at one image which has been blown up to cover an entire section of the wall. Against a snowy backdrop is a billboard upon which is a personal ad titled ‘Looking for Love’. It’s one of the few texts to be found in the exhibition, a deliberate choice Godet explains. “Soth is a massive reader of poetry, but he doesn’t like associating the two because he says poetry and photography tend to reject each other and I understand why he says that, because there’s already so much poetry in his photo he doesn’t need more.”

“But what is the difference between Soth’s work and the images of everyday life you can find on social media?” I ponder.

Godet tells me that, “I would say Fine Art photography makes you think. That’s why the Guernsey Photography Festival focuses on contemporary photography and fine art photography because you reach a different level. Everybody says it’s quite easy to take a photo and that’s true. We have the technology to take a good photo readily at hand, but for example, if you take a photo of the sunset on one of Guernsey’s popular beaches like Cobo.” He gestures dismissively, “‘Wow great photo’. The problem is those photos will be distributed on the net and there will be a million photos of Cobo and the sunset and they all look the same. They all look pretty in terms of colour and they have the wow factor but then you forget them. Because we have been oversaturated by them. It’s like reading a good book, when you read a good book it stays with you for a very long time and the reason it stays is because it triggers emotions within you and makes you think about life, your own and others, and that’s where the difference lies.”

Curious, I ask Godet how Soth came to be a part of the Guernsey Photography Festival. He is only happy to tell us the story and talk more about both Soth’s art practice and personality.

“I met him in Paris seven years ago when I introduced him to the idea of coming to Guernsey. At the time I remember he said, “What?” and I said, “Guernsey…”,  “Where is that?” And I said “Oh it’s a small rock in the middle between France and England’ and he started laughing about it. I think he didn’t take me seriously because at the time we were just starting the Guernsey Photography Festival and we were not well established like we are now.

But then word started spreading internationally that there was something quite interesting developing in Guernsey for photography and also we had Martin Parkin and Mark Power come over. Mark Power is a good friend of Alec Soth and all those people were our best ambassadors and they were saying “Oh yeah I’ve been to Guernsey, I’ve met Chris and the team there and it’s been a fantastic experience, it’s a great festival” so slowly we gained a good reputation.

So I met him in Paris again for another big photography festival, and he recognised me and I told him that we were going to celebrate our ten year anniversary. And he said, “Oh yes I’ve heard about your festival now and I’ve been told good things.” He was supposed to come last year but unfortunately, because of the pandemic, he couldn’t make it.

In my opinion, he is one of the biggest names you can get in the world of contemporary fine art photography so the moral of the story is never give up. But he’s a really nice guy, intelligent and modest as well. There’s nothing pretentious about his work. Everything is coherent with Alec Soth. When he takes a landscape, every single detail in that photo has some kind of significance. And it’s all about what he know’s best, which is America. Soth has never been a travel photographer, there is this myth about being a photographer that you travel a lot that you travel the world, the lifestyle of freedom and wandering the world. Alec Soth does wander but he does it in a territory that he knows best. All his personal work has been related to the midwest of America. I love that about him because what’s the point of sending a photographer to say the Middle East when they don’t know anything about the culture. It’s much better to ask someone local to take the photos and give us the reality of things.”

Speaking of keeping things local, “Do you think Guernsey has the potential to become a big cultural hub of photography and Fine Art?” I ask him.

He laughs, “I’ve been working on that for the last ten years. I do believe there is potential there, but I think to reach that there is a necessity for a political drive for cultural development. I think unless we reach an agreement on a political level there will always be a bit of a struggle. Because if you want to be a cultural hub you need to invest in it. You can’t just rely on a small amount of public funding and donation and sponsorship. I’ve worked on lots of different major projects in major cities and you need funding for it. With the Guernsey Photography Festival, we have tried our best and we have proven it is possible, but I think a political position is necessary. I think there is a tendency in Guernsey to be satisfied with what we have, and while I don’t criticise that, there is so much more in the world to discover in terms of the profile you can create. It’s important to help and support local artists, but I think if we want to attract people to come to Guernsey as a hub local artist won’t be sufficient. You need to have big names like Alec Soth. Then people hear about it and think ‘oh wow this is pretty cool place to visit and live, not only can you enjoy the beaches and wildlife and historical culture but you have names like Alec Soth as well.’”

Before he leaves I ask a final question, “What are the plans for the future of the photography festival.”

“This is just the starting exhibition for this years festival,” Godet tells me, “because on the 23rd of September we are having a big open night for the Guernsey Photography Festival with the Guernsey symphony orchestra and we will have a multitude of international artists. I think in total we have 25 exhibitions planned in celebration of our ten year (plus one) anniversary. We have some really exciting artists but I’m not going to mention any names, you will have to wait for the press release, but it’s going to be big!”

Later, as I walk away from the museum I think over Soth’s work exploring the beauty and complexity of the mundane and Godet’s thoughts on the need for local governments involvement in local culture. Lost in thought I stumble on another small outdoor exhibition of different photographers work, about ten minutes walk from the gallery. It’s concise and wonderfully accessible to the public. It reminds me that Soth’s most famous work was created in the region he was born. With the pandemic making us rethink travel, perhaps it’s time to look away from larger cities and instead demand for art and culture to also be brought to, and created in, our own tiny pockets of the world. Something the Guernsey Photography Festival has already been doing for ten (plus one) years.

 

Credits

Find out more about the exhibition on www.museums.gov.gg
Images · ALEC SOTH
www.alecsoth.com/

Claudia Andujar

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NR · WORLD
Online

Feature · Claudia Andujar
Words · Izzy Bilkus

Andujar often applied Vaseline to her camera lens, used flash devices, infrared film, and oil lamps to create visual distortions

The Barbican’s latest exhibition explores the work of Claudia Andujar, a Swiss-born Brazilian photographer and activist who has spent her life documenting and defending the Yanomami, one of Brazil’s largest indigenous peoples. Through a collection of over 200 photographs, an audio-visual installation, and a series of drawings by the Yanomami, the exhibition explores Andujar’s relationship with the Yanomami that spanned five decades, and details periods of direct activism amongst the indigenous communities.  

The exhibition is housed in The Curve, featuring powerful photographs from Andujar’s first six years living with the Yanomami and explores how the photographer used her camera as a tool to drive political change. At a time when the Yanomami’s territory and way of life is being threatened from continued illegal mining and the spread of Covid-19, the exhibition holds particular significance: it shows how Andujar dealt with visually interpreting a complex culture, and how her art serves to amplify the voices and struggles of the Yanomami.  

From the start of her career documenting the Yanomami in the 1970s, Andujar’s photographic approach differed greatly from the traditional documentary style of her contemporaries. The photographs she took during this period experiment with a range of techniques to visually translate the shamanic and ritualistic culture of the Yanomami. Andujar often applied Vaseline to her camera lens, used flash devices, infrared film, and oil lamps to create visual distortions of light streaks and saturated colours that imbue her work with an ethereal quality. The exhibition also features a series of more sober black-and-white portraits of the Yanomami that focus closely on their faces and bodies, using an intense chiaroscuro to create a strong sense of intimacy. 

By the late 1970s, Andujar had reached a pivotal point in her career. With the Amazon region opened to deforestation and invasive agricultural programs, entire Yanomami communities were destroyed. Andujar deepened her commitment to the Yanomami struggle, and in 1978 she helped found the ‘Commissão Pro-Yanomani’ and began a campaign to protect their homeland. Andujar’s artistic career at this point was abandoned in favour of using photography solely to raise awareness for the cause.

As a photojournalist and a European, Andujar’s project is still a complex one: it cannot be wholly separated from the history of the colonial gaze on indigenous people. Yet it is clear that she has been welcomed by the Yanomami – films, drawings and texts by the community leader Davi Kopenawa throughout the exhibition demonstrate. It is without a doubt that Andujar’s work powerfully captures the struggles of the indigenous peoples and delivers both a unique peek into the lives and worldview of the Yanomami and a potent condemnation of the violence enacted on them.

‘Claudia Andujar: The Yanomami Struggle’ is on at the Barbican Centre until 29th August. Discover more here barbican.org.uk  

Tatsuo Miyajima

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NR · WORLD
Published · Online

Feature · Tatsuo Miyajima
Words · Nicola Barrett

“If you want to use technology to create your work, stop studying technology”

Sometimes it can feel like life is dominated by numbers, sums and allotments of time, all looming over us in with the blinking flashing urgency that comes with our increasingly digital environments. With Tatsuo Miyajima’s work, this feeling has become reality. Whilst his art ranges across a wide variety of mediums there is a single focus; numbers. Specifically the kind you find on old digital clocks or calculators. Miyajima is one of Japan’s leading sculptures and installation artists, and his work is centred around his use of LED counters, which flash sequences of numbers from one to nine. His work is also heavily influenced by Eastern and Buddhist philosophy. NR Magazine joined the artist in conversation. 

One of your three artistic concepts is ‘keep changing’. How do you think your work has changed throughout your career?

For the first 7 years after my debut, I was only making installations that showed LED works in a dark room. However, in 1995, I had an opportunity to do a performance in London, and from that point on, I began to do works that involved people and asked them to participate. Since 2005, I have been working with a wider range of materials, including digital numeric drawings, photographs, and computer programs, in addition to LED works. Since 2010, I have been using AI in my work, and I am still expanding the range of my expression with various materials.

You have said that “art has long been isolated from the real world, and spoiled within a framework of the ‘art world’. Do you think social media apps, such as Instagram and Tiktok, on which creators can show their works is an effective way to break down these barriers?

In terms of the fact that many people can express themselves easily, I say yes. However, the point that the expression is too concerned about the reputation of “likes”. It means No.

How has the pandemic affected you and has it had any impact on the way you approach your art practice?

It was sad that I could not go abroad because of the pandemic. However, I was grateful for the fact that I was able to work calmly. I am also glad that the pandemic has made it clear that art is an essential and important part of human life. It is hard to say right now how this pandemic will affect us in the future. However, I am sure that it will naturally appear in my works in the future.

Tell me more about your recent work Counter Object – 000 (2020). What was the process behind it?

In fact, this work was also born out of the pandemic. 20 years ago, I did an installation in Stuttgart where I placed mirrors of digital numbers on the floor. During the pandemic, the Buchmann Galerie organized a group exhibition, but I could not go to Germany. So, Buchmann suggested that I show something similar to the work I did in 2000. I proposed a new idea. I proposed a new idea, which was to display mirror-like digital numbers on the wall and change them with dice. This is Counter Object – 000, which I plan to develop further by using different materials.

Your art is largely based in technology, are there any new technologies that you are interested in incorporating into your artwork?

I always have a concept and use technology as a tool to realise it, but not the other way around. If technology is the first step in creating a work of art, it will not be art, but only product design.

Although a lot of your work revolves around numbers, the number 0 is never shown in your work, why is that? 

This is because 0 means “death”.

“Death is invisible to the eye. That’s why I always represent ‘0’ as blank, or dark so that I can’t see it.”

Like your work, much of the world relies heavily on technology. Have you ever considered what would happen if that technology was no longer available to us and if that ever happened what artworks would you create then?

If I had been born in the third century, I would have made “mosaics” out of stone. If I had been born in the 13th century, I would have been painting with “tempera”. And if I had been born in the 18th century, I would have definitely painted in “oil”. All these techniques were the latest technology of their time. You can see that artists have always expressed themselves with technology that is adapted to the times.

What was the particular concept behind C.F. Loop: Helix no. 2 and was there any reason why you chose blue for the LEDs? 

C.F. Loop is a Study Model that considers the structure of time. Time is connected to a circle, but it must be an irregularly shaped circle. I expressed this by having the numbers counting 9-1 lined up in a circular pattern. In the series of works, I also used red and green LEDs. Each color expresses the differences of each character.

What exactly is it that you want people to take away from your work? 

I do not impose a concept on the viewer.

“Artworks are not meant to give something to the audience. Rather, I believe it is something that allows the viewer to discover the sensitivity and imagination within themselves.”

What was the most exciting project you worked on and why?

I am currently working on a piece called “Sea of Time – Tohoku”, which will be my most exciting project yet.  After experiencing the 2011.3.11 Great East Japan Earthquake and Tsunami, I have created a project plan to work with people in Tohoku. LED devices used in the project represent the eternity of life. I am aiming to ask 3,000 people mainly from the affected areas to set the speed of the LED display to create an artwork. I plan to install it at a high-class location in the Tohoku area where we can see the sea.

Your work Hiten (2020) reminds me somewhat of a map of the world. Were you trying to create any particular shapes with the placement of the LED numbers or is it purely abstract? 

This work HITEN refers to an angel painting in a cave in Dunhuang, China. This angel is clothed in a robe of extreme colors and is fluttering freely in the sky without being controlled by anyone. So it is an abstract way of arrangement, placed so that it can fly freely in the sky.

What advice do you have for young creatives looking to create art with technology?

If you want to use technology to create your work, stop studying technology. There are many technology specialists who are better than you. Instead, you should study philosophy, anthropology, and art, and focus on creating original ideas. Then you can use technology to express them. 

Credits

Images · Tatsuo Miyajima
https://tatsuomiyajima.com/

Luna Ikuta

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NR · WORLD
Published · Online

Feature · Luna Ikuta
Words · Nicola Barrett

“We recognise the past, present, and future but it makes me think perhaps there is a beyond”

Ghostly white flowers float gently against a sea of black. Delicate pale fish weave their way through the waving fronds of these transparent florae. Luna Ikuta creates these mystical aquatic landscapes by stripping away the colour and chlorophyll from living plants. This process involves “extracting the living cells from plants while leaving the ECM (extracellular tissue matrix) intact.” The flowers are then submerged underwater which causes them to sway softly mimicking the movement caused by light breezes in the natural world. 

Ikuta’s aim was to de-sensationalise peoples perception of the outside world by showing them the wonders that could be found in their immediate surroundings. The flowers she used were found on walks around her home in Los Angeles. By transforming them into translucent wraithlike forms these artworks evoke the image of ‘reincarnated spirits’ whilst allowing people to marvel at the natural structures found in their local environments. NR Magazine joined the artist in conversation about her work. 

With your botanical artworks, how long does the process of stripping away the living cells of the plants take? And how long does the ECM (extracellular tissue matrix) last once you have completed this process?

Each plant behaves differently but on average it takes about three weeks. Even though completing a tank arrangement from start to finish takes about a month to create, the transparent gardens are all ephemeral works. These installations eventually disintegrate and disappear after about six months. The works are filmed shortly after they are installed and embalmed as digital relics. 

You have stated that you believe black to be the richest of all colours. Is that why you have chosen to use exclusively black backdrops with all your botanical artworks?

I like using monochromatic palettes in a lot of my works across various mediums. In my sculptural works, I am obsessive about texture and am drawn to muted palettes for I feel excessive color distracts from form and adds unnecessary noise. These botanical works are also an extensive study of texture and form. Each plant was made transparent using a process revealing intricate vascular networks and structures otherwise invisible to our eyes. In these artworks I want the focus to be about the subject and to transport the viewer into an otherworldly space illuminated solely by the ghostly flora.

You stated that you are inspired by Japanese culture. Was there any particular aspect of this culture that influenced your botanical works?

I was born in Tokyo, Japan but was raised in the US. I travel back to Japan to visit relatives every year and grew up in a bilingual household. As I’ve grown older I realise this is my particular advantage to always be living between those two worlds. For that reason, it’s not too important for me to identify with one or the other when it comes to my work because I am just me. The Japanese inspiration comes more from a place that’s difficult to express in words.

“I am mainly interested in making work that connects to the human spirit.”

Do you think there is an intrinsic link between art and science that people tend to overlook as there is a tendency to view the two fields as separate?

As a multimedia artist I’m interested in material science, so I have always seen an intrinsic link between the two. I believe art benefits from science when trying to create experiences that are foreign to everyday life. The science behind the process of creating the Afterlife series also plays a role in the narrative of the work. These artworks combine sculpture, digital media, chemistry, and biology to create an experimental installation that transforms our natural world. The plants are no longer alive but are preserved as ghostly skeletons in the liminal space between life and death. This art practice is also an ongoing experiment. I never know the result of the clearing process for each plant and sometimes it doesn’t work out. This creates challenges and discoveries that propel new ideas and I am always learning. 

You have a background in industrial design, how does that inform your art practice? 

Industrial design covers a very wide spectrum of trades. What I value the most from this background is that I know how material things are made. I am very hands-on and have experimented with everything from woodworking, metalsmithing, ceramics, 3D modelling, architecture, etc. By having a foundational understanding of various production processes I can be autonomous and it’s very freeing. As an independent artist, every project has my hands on it from the finished artwork, documentation, to building out entire showrooms. My practice ranges from sculpture, installations, furniture, digital media, and now aquarium art. The biggest challenge is answering “what kind of art do you do?” since my methods of making are always changing per project. 

Would you ever consider taking other biological forms than plants and stripping away their living cells to create artworks?

I have only scratched the surface of the botanical world using this process and there are so many more plants I would like to work with. I started to see that once you remove the plants from their natural context, they can transform into something entirely different from their original character. In one of my tanks, I placed Chrysanthemums, Sunflowers, and Queen Anne’s Lace as the foreground of the landscape and they resembled very close to sea anemones. Grass looks like aquatic snakes, and some plants look like clams when placed in a specific way.

“Nature has a beautiful way of effortlessly mimicking other life forms in ways I never noticed, and this space is more interesting for me to play with.”

Some of your works involve live fish. How do you deal with the practicalities and ethical concerns of using live animals in your artworks?

My pet Bettas! As a practicing aquascaper, I have experience in monitoring water conditions to make it safe for fish. They are beautifully majestic creatures and I am grateful for their involvement in my films.

Do you think people have become more appreciative of nature due to covid and subsequent lockdowns and if so how is that reflected in your botanical works?

During lockdown, all I did was go on walks outside. It seemed like my friends were all doing the same. Social media was depressing, and the news was even more depressing! On these daily walks, I would observe flowers blooming on the hillside of my house and these subtle changes in the landscape became my elusive “pandemic clock” measuring time. I enjoy watching the life cycle of nature because it’s a quiet but hopeful message. Flowers bloom and wilt but come back again next season. We recognise the past, present, and future but it makes me think perhaps there is a beyond. If so, I wonder if death is really something we have to fear? A lot of my work uses plants that are foraged from my immediate surroundings, so despite awful 2020 I am thankful for the time I had to fully immerse myself into California’s nature.

What advice would you give to young creatives who are interested in combining art and science?

You don’t need to be a scientist! 

Are you working on any projects at the moment and what plans do you have for the future?

Yes!  I am currently exhibiting these works, AFTERLIFE, at The Transparent Garden which is both my studio and showroom. This gallery showcases eight physical aquaria, each paired with a custom-built LCD screen preserving the video form as collectible art objects. This show was the first time I had shown the physical tanks to the public. I am also releasing a series of NFT’s of the filmed aquariums that will be released on Superrare July 5th. AFTERLIFE ends on June 13th but I really enjoyed meeting everyone who came by the space and I am excited to continue using this gallery as my experimental playground. I am also installing my first permanent public arts sculpture in Los Angeles. I have been working on that piece for over a year so I am excited to see it finally rest on site. Oh and Daruma 2022! 

Credits

Images · LUNA IKUTA
https://www.lunaikuta.com/

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