Using BONJIN’s signature chaotic collage style, I created a work centered on the theme of a zoetrope. It expresses the way everyday life appears to repeat endlessly, and yet deep within the heart, the hidden light and ideals still remain. By employing an observer-like perspective to portray the structure within the jacket artwork for “Ubugoe,” I also tried to create the impression of looking down upon even that everyday life from above. Even if the treasure within oneself falls apart, one must still keep running forward—I tried to express the melancholy of that feeling and the aesthetics of it itself.

Snake Line A video installation by filmmaker Shinichi Yamamoto and musician Tetsuji Ohno (Intercity-Express). Set at the biotope located at the edge of the forest within the expansive grounds of Nagaoka Institute of Design, the work features a 20-meter screen constructed from 40 connected LED displays. Positioned at the forest's margin — visible from the campus buildings — it unfolds amid the falling leaves of late autumn. From 9 a.m. to 9 p.m., the work continuously shifts in response to the changing quality of daylight, rain, and the darkness of night reflected across the water's surface. Emitting vivid, high-saturation color, the installation neither confronts nor overwhelms its natural surroundings, but settles quietly into the landscape. The sound, composed by Ohno, builds an ambient sonic environment rooted in field recordings of a suikinkutsu — a traditional Japanese water instrument. Snake Line was produced as part of VideoListening, a media art program directed by Shinichi Yamamoto.

Calligrapher Mariko Kinoshita’s inscription of a passage from Kamo no Chomei’s *Hōjōki* is divided into squares and redefined as “fragments.” Film artist Shinichi Yamamoto assigns a time axis to those cells using a unique algorithm, while musician Corey Fuller layers an ambient soundscape built from deconstructed and reconstructed readings of *Hōjōki*, creating a multilayered interplay among the three artists’ expressions. Blending Japanese views of life and death—such as “ku” (emptiness), “engi” (dependent origination), and silence—with a meta perspective on observing landscapes, the work becomes a weighty video poem that explores universality dwelling within impermanence. First unveiled in 2019 across the outdoor large-scale digital billboards of Shinjuku, it continued to evolve and in 2020 was expanded into an immersive spatial presentation at “ETERNAL ART SPACE” in Haneda Airport. In 2024, for its exhibition at Immersive Museum TOK (Shinjuku), it was reconfigured for a vast space of approximately 430㎡ and 6 meters in height. As fragments of calligraphy overlapped geometrically with waves and graphics, it was elevated into an immersive experience as a “reconstructed modern Zen garden,” drawing viewers into a serene spiritual world.

This work, presented on August 13, 2025 at the “Neo Lantern Festival” held in Hino Town, Hino District, Tottori Prefecture, simultaneously unfolded a visual presentation and an illumination design that enveloped the entire space. Set in an old warehouse once used for storing rice, it repurposed a dormant space and transformed it into a place that connects local memory with the future. The illumination is not merely decorative; it is an essential element that shapes the rhythm of the space in response to the imagery. Light placed along the walls and beams overlaps with the abstract layers of the video, spreading outward as if embracing the audience’s bodily sense. In a space where the festival’s defining “light” and the installation’s illumination coexist, the traditional light of the festival and the light of contemporary digital art intersected. The theme of the work is “reconstructing the landscape.” It captures fragments of nature and daily life from the Hino District (Hino Town, Kofu Town, and Nichinan Town), then reassembles them into abstract designs. The video evokes memories of the landscape, while the illumination serves to extend those memories throughout the entire space. Viewers can experience the moment when the familiar appearance of the land is transformed by light and imagery, discovering another kind of beauty hidden within the region’s scenery. Underlying the work is a desire to reuse local resources and foster cultural regeneration. By reviving an unused rice warehouse as an art venue, it became an attempt to create new value that honors memories of the past while opening toward the future. The closed-off space of the warehouse was opened up, creating a place where local people could share an experience of being surrounded by light. This installation functions as a mediator that connects land, people, and memory through the unity of video, illumination, and the local community.

We were responsible for the direction, design, and editing of the concept movie for “MotionBoard,” the business intelligence tool provided by WingArc 1st. The new version of “MotionBoard,” equipped with generative AI, makes analysis and board creation more intuitive and has evolved significantly in usability, enabling not only engineers but also frontline staff to develop business applications and leverage data in-house with greater ease. In the video, we depict data spreading through an abstract world and being handled with light, effortless operations, expressing its freedom of use and sense of innovation. Furthermore, by using soft colors and a friendly tone, we soften the rigid and difficult image often associated with BI tools, creating an impression that is approachable and easy for anyone to use.

Film direction for MINAMI JEWELRY 2026

At the newly opened immersive space “tem” in Phoenix Mall of Asia, a commercial facility in Bangalore, India, we created a 360° immersive theater experience themed around the Japanese seasons and spirituality. Reinterpreting Japan’s four seasons as a “circular structure,” we designed an immersive environment that leads visitors into a spiritual world beyond them. By using mirrored surfaces for both the floor and ceiling, the imagery extends infinitely in the vertical direction, while 360° panoramic visuals are projected onto the walls. The moment visitors step inside, they are enveloped in the changing seasons and the rhythm of light. A “mandala” where Japan’s view of the seasons and Indian philosophy intersect As the core of the presentation, we reconstructed the essence of Japanese culture—“a sense of unity with nature,” “the contrast between stillness and motion,” and “a worldview in which the seasons cycle endlessly”—into a “mandala structure,” which also resonates strongly with Indian thought, creating a universal spiritual world that transcends time and national borders.

For the production, CG and generative AI were used in tandem, and the work was developed by designing structure, light, and material qualities while also incorporating forms and movements that emerged accidentally. In the end, the piece was composed, edited, and color-corrected across multiple tools, aiming for a visual expression in which human intention and the unpredictability of algorithms coexist.

BATHVERSE, opened in Shinagawa, Tokyo by Nipoli Chemical Industries, a manufacturer specializing in unit bathrooms. It transforms the expanded sense of rising from soaking in hot water into an immersive spatial experience, enveloped by six screens, a mirrored floor, and three-dimensional sound.

Music video for “Yozora wo Kakeru,” the theme song for the Saturday night drama “6-Second Trajectory ~ The Melancholy of Fireworks Maker Mochizuki Seitaro” The protagonist’s feelings of love are depicted through a story-driven narrative with a strong nostalgic appeal. The layout was carefully crafted so that it would become a beautiful illustration no matter where you pause it.

At the Edo-Tokyo Museum in Tokyo, which reopened on March 31, 2026, we produced three works—“Traditional GRID,” “Moving Picture,” and “Another Sky”—as part of the permanent video projection program presented in the Edo-Tokyo Plaza on the third floor. Cultural resources held by the Edo-Tokyo Museum, such as ukiyo-e prints and maps, have been reimagined not as objects to be viewed, but as a spatial experience that envelops visitors. Approximately 100 works by ukiyo-e artists and painters, including Katsushika Hokusai and Tōshūsai Sharaku, unfold overhead as landscapes connected to modern-day Tokyo. Crossing the memories of cultural properties, architecture, and the city, this project seeks not only to “exhibit” history, but to give it form as an experience that visitors can physically অনুভ in the scale of this place. Projection screening schedule in the third-floor Edo-Tokyo Plaza (from May 2026) Times: 19:00, 19:20, 19:40

An animated music video that further expands the world of the ending theme for BEASTARS FINAL SEASON Part 2. While following Legoshi’s life, it also incorporates imagery of SEVENTEEN, and the newly produced footage is longer than the version used in the ending theme. The color palette was chosen to match each scene and concept, using soft tones for female fans and deeper, stronger tones for fans of the original work. Building on our previous animation production in PS, we also incorporated Moho for about half of the process. The hand-drawn, frame-by-frame approach remains the same, but it now gives a stronger sense of paper-doll-like joint connections.

A work packed with playfulness and interest within the framework of loop animation. Pay attention to how the mood of the imagery gradually changes in step with the passage of time.

Coachella 2026 - Adriatique VISUAL

Film direction for Numéro TOKYO THE ART OF MOTOKI OHMORI Numéro TOKYO reimagines Motoki Ohmori of Mrs. GREEN APPLE as the “protagonist of a contemporary fable,” and brings that world to life.