from Museum Magazine (1998)

Article

The widespread use of computers as a tool and technological advances have made possible a different approach to visual expression than the conventional one of moving graphics. Motion Graphics" is building a solid position as a new form of digital expression that moves from graphics to images using computers as a medium. Motion Graphics" is gaining ground as a new form of digital expression that moves away from computer graphics and toward video.

Following last year's highly successful "Motion Graphics '97," the second exhibition, "Motion Graphics '98," was held under the title "Postwar Japanese Manga's 'Onomatopoeia' Moves! The exhibition was titled "Postwar Japanese Manga's 'Onomatopoeia' Moves!

In contrast to the first exhibition, which dealt with the popular theme of "flying logos," the second exhibition was held under the title of "Onomatopoeia in Postwar Japanese Manga Moves! What happens when onomatopoeia moves? It raised a simple question, "What happens when onomatopoeia in manga moves?

The moment I rushed into the venue just before closing time, I was hit by a loud "gaga gaga gaga ----" sound in the darkness. mark on my head, I stood still and was hit by a flood of light, color, and sound. It was a motion graphics of the entire venue breathing.

The venue was composed of two rows of "walls" consisting of alternating rows of floor-to-ceiling glass partitions spaced at regular intervals with floating white panels suspended from the ceiling, glass mirrors standing on both sides of the glass, a projector, and speakers. Images are projected from the projector on the floor onto the mirrors, reflected onto the panels in mid-air, and then reflected back onto the glass, overlapping each other in multiple layers. The simple structure of the projector is devoid of any unnecessary objects, but when movement, light, and sound are added, the space is stirred, and "movement" is achieved.

Tokujin Yoshioka, who conceived the idea of "floating images" from "invisible sound," expressed it in the spatial design using only three materials: panels, glass, and mirrors. The way the images were presented, their balance, and even the details of how they fit together were so clear and exquisite as a solution to the concept that it convinced us that the drawing of the venue itself must be beautiful. The video director, Seiichi Hishikawa, supported the risk of the entire venue being under adjustment at the wrong moment from a technical standpoint, editing 16 "onomatopoeias" of about 10 seconds each equally using the format of the work to create an even larger flow of images and sounds. This allowed Kyle Cooper, Ichiro Yada, and the public to exist only as "onomatopoeia," creating the effect of immersing the viewer in a theatrical experience, drifting through time and space created by the undulation of strong images (the work) and weak images (the commentary).

When a flat surface (two-dimensional) that has been at rest acquires motion, it itself becomes pregnant with space (three-dimensional) and time (four-dimensional), and becomes a more experiential expression that engages the viewer's space and time. This is not only found in individual works, but the "Motion Graphics '98" exhibition itself was stimulating in its expression, and I believe that this is precisely the kind of exhibition made possible by the activities of creative professionals. 　　

This project, which began with "Motion Graphics '97" and is expected to be held annually in the future, was inspired by Kenmei NAGAOKA, a creator himself. For these artists, who are responsible for keeping their eyes on the cutting edge of the times, always communicating new and high-level expressions widely with an eye on the market, and continuing to do so, seeking and coordinating venues for expression and critique is an activity that they desire because of their will and enthusiasm as creators. Planning, obtaining funding (sponsorship), selecting and negotiating with participating artists, subsequent correspondence, coordinating seminars, making announcements, creating official guides, setting up and running the venue, public relations activities, etc., etc., etc., etc., etc., etc. All of these tasks and financial activities are as much a challenge and a battle to develop the design genre to a higher level and to establish its position as well as a struggle to continue creating as an expressionist.

　The fact that the first and second sessions were held during the period of SIGGRAPH, the world's most prestigious international conference in the design industry, shows the fearlessness and confidence of the organizers.

　The third "Motion Graphics '99" is already taking shape. The landing point of the artists, which is still secret because they would be caught in the trap of revealing their concept, is also continuing to "move" as an unknown form of expression.

(Excerpt from the review article by Yumiko Oka of network museum & magazine project 1998)