An educational project conceived as a way to explore, discover, catch, observe, gather knowledge, and expand curiosity with one’s own body. In the Forest of Extinct Animals, extinct animals live. When you approach or touch the animals, they run away or turn around. You catch various kinds of extinct animals, observe them, and build your own collection encyclopedia. Using the smartphone camera, you look at the animals walking through the space, and when you cast the “eye of observation” at the animal visible on the screen, it flies into the real space. When the “eye of observation” hits the animal, it disappears from the space and enters your smartphone, where it is collected. When you swipe a captured animal to a place visible through the camera, it is released and returns to that spot. Also, if you cast an “observation net” wherever you like, an “observation net” will be spread at your feet. Working together with the people around you and using your body to drive the animals into the “observation net,” the animals disappear from the space and are collected in the encyclopedia in the same way. The collection encyclopedia fills in more detailed information the more times you catch the same animal. Work page: An educational project conceived as a way to explore, discover, catch, observe, gather knowledge, and expand curiosity with one’s own body. In the Forest of Extinct Animals, extinct animals live. When you approach or touch the animals, they run away or turn around. You catch various kinds of extinct animals, observe them, and build your own collection encyclopedia. Using the smartphone camera, you look at the animals walking through the space, and when you cast the “eye of observation” at the animal visible on the screen, it flies into the real space. When the “eye of observation” hits the animal, it disappears from the space and enters your smartphone, where it is collected. When you swipe a captured animal to a place visible through the camera, it is released and returns to that spot. Also, if you cast an “observation net” wherever you like, an “observation net” will be spread at your feet. Working together with the people around you and using your body to drive the animals into the “observation net,” the animals disappear from the space and are collected in the encyclopedia in the same way. The collection encyclopedia fills in more detailed information the more times you catch the same animal. Work page: https://www.teamlab.art/jp/ew/collecting-forest-planets/planets/

Description: “Multi Jumping” is an elastic floor that lets you bounce. The ground beneath you sinks, and you can jump higher than usual. When you step on “Multi Jumping,” the floor beneath your feet sinks, creating a distortion in space-time where stardust gathers and a star is born. If you bounce on the star, it begins to move. By continuing to bounce on the moving star as you chase it, the star grows and you experience the life of a star. When a star reaches the end of its life, it turns back into stardust, becoming the source of a new star. When it grows extremely large, the star becomes a black hole, drawing in the surrounding stardust and stars. Background of the work The life of a star Stars that emit their own light, like the sun or the stars shining in the night sky, are called “stars.” In the universe, there are many different kinds of stars, such as “planets,” like Earth, on which we live, and “satellites,” like the moon, that orbit around them. Here, however, we will talk about “stars” that emit their own light. A key factor in the life of a star is “gravity.” According to Einstein’s theory, in the universe, the mass of objects creates distortions in space-time. The force that causes surrounding objects to gather as if drawn toward these distortions in space-time is called “gravity.” The birth of a star In the universe, vast amounts of stardust and gas drift about, and when they gather under gravity, they form the embryo of a star. The state immediately before something becomes a star is called a “protostar.” The evolution of a star A “protostar” gathers surrounding stardust and gas through gravity and evolves into a shining star. A star at this stage is called a “main-sequence star.” Stars spend most of their lives as main-sequence stars. The sun we see is currently at this stage. As it evolves further, the star begins to swell and becomes a large red star called a “red giant.” The end and rebirth of a star If a star has a mass less than about eight times that of the sun, it releases gas and ends its life. If it is more massive than that, it ends its life in a “supernova explosion.” A star is blown apart by a supernova explosion, turning back into stardust and gas, which then becomes the material for the birth of the next star. Work page: https://www.teamlab.art/jp/ew/multijumpinguniverse-planets/planets/

Description: “High-Speed Spinning Bounce Balls” are spherical objects that people can step on to bounce into the air. The spheres spin rapidly, but when people approach, they stop spinning and become stepable. If you step on spheres of the same color in succession, the inside of the sphere bursts open and spreads into the space. If you continue stepping on them, caterpillars are born. If you keep bouncing on spheres of the same color all the way to the end, all the spheres in the space burst open and many caterpillars are born. Work page: https://www.teamlab.art/jp/ew/collecting-forest-planets/planets/

∈Y∋とC.O.L.OによるA/V Live ユニット。世界各都市で公演を繰り広げる。 ■ Performances (2025-) Art Week Tokyo— Tokyo, Japan November 15, 2025 / FACETASM MUTEK.JP — Tokyo, Japan November 21, 2025 / Nocturne 1 Powerhouse: International — A New Arts Festival — Brooklyn, New York, USA December 5, 2025 Powerhouse: International A New Arts Festival CTM FESTIVAL — Berlin, Germany January 24, 2026 / Berlin, at Haus der Visionäre REWIRE FESTIVAL —The Hague, Netherlands April 10, 2026 Variations festival — Nante, France April 11, 2026 ∈Y∋は1986年にBoredomsを立ち上げ『Super æ』や『Vision Creation Newsun』などジャンルを打ち壊す作品を世に送り出し、世界中にファンを持つ存在となっている。また、ドラマーを集めて挑んだ壮大な「Boadrum」シリーズでも知られている。Sonic YouthやJohn ZornのNaked Cityのほか、Puzzle Punksなどのプロジェクトにも参加している。 本プロジェクトは、マルチメディアA/VコレクティブCOSMIC LAB創設者でもあるビジュアルアーティストC.O.L.OとのA/Vショーである。C.O.L.Oはテクノ元祖Jeff Millsとの合作『THE TRIP - Enter the Black Hole』や、∈Y∋との『FINALBY()』などで未知のAV体験を作り上げてきており、ヴィジュアルの構造がサウンドを生成し形作る統合システムを開発してきた。音と映像を切り離せない一つのメディアとして扱い、その場ならではの、人を変容させるような体験を生み出している。 AV/DJ/LIVE という枠を超えた加速的なハイブリッド、マキシマイズの先に立ち顕れるミニマライズ 。拡張されたシンゲリフューチャリズムや地殻原子オーディオ・ヴィジュアル・リアクティブで映像・光の不可分を加速。 A swarming bundle of chaos and fun surrounds Yamantaka Eye, aka ∈Y∋, the visionary founder of legendary avant-noise groups Boredoms, Hanatarash, and Puzzle Punks. Working since the 1980s, ∈Y∋'s output has influenced and shaped experimental music in his native Japan and across the globe. From noise and psychedelia to performance art and visual art, ∈Y∋'s career is a collage of creative mischief and devilish collaborations. He has performed with the iconic Sonic Youth, on John Zorn’s Naked City (1990), and with the influential South Korean artist Nam June Paik, among many others. Expect a face-melting and mind-warping audiovisual battery as the mutant cyberkinetic noise of ∈Y∋ is combined with the rampant visuals of C.O.L.O from Osaka’s Cosmic Lab to birth an immersive audiovisual performance. Through projects such as FINALBY( ) with ∈Y∋, C.O.L.O has developed integrated systems in which visual structures generate and shape sound, treating audio and image as a single, inseparable medium to create site-specific, transformative experiences.

A rapidly shifting urban landscape — waves of people, railway networks, buildings, and city lights generate an immense torrent of information. This work intensifies that “excess” through visual techniques such as slit-scan and delay, making the speed and density of changing information visible. Screened at “Toki-no-ma,” an immersive gallery created through the adaptive reuse of the former Hino Junior High School in Hino Town, Tottori Prefecture. Presented in the first opening program, “A Classroom Where the City and Satoyama Intersect.”

Inspired by Nedu, Hino Town, where the sound of water fills the town. An installation work in which overlapping streams of water envelop the space. At Tokinoma, an immersive gallery in Hino Town, Tottori Prefecture, housed in a repurposed former school, we held the special exhibition “A Classroom Where the City and Satoyama Intersect.” As one of the screening works in the exhibition above, this piece focuses on “satoyama,” and abstractly expresses both its beauty and the issues present in the region.

WOW participated in the signature pavilion “null²” at Expo 2025 Osaka, Kansai as part of the creator team, contributing to the planning, visuals, sound, and overall direction system. The pavilion’s theme is “Polishing Life.” WOW joined as a direction member from the earliest planning stages and, together with Expo producer Yoichi Ochiai, spent several years creating a wide range of creative elements, from the pavilion’s interior visuals, sound, robot control, and experiential flow to the exterior visuals. A Pulsating Sculpture, a Conversational Space For this pavilion, Ochiai established “two mirrors” as a key concept. The first refers to the sculpture itself, which generates unfamiliar landscapes. Its mirror-finished exterior absorbs the surrounding scenery, pulsating as it repeatedly transforms like a living organism, even as a building. The second refers to the experience inside the pavilion. In a space where mirrors and imagery are integrated, visitors confront “kigō*” and engage in dialogue with a digital human. WOW was primarily responsible for this interior experience. The space confronting “kigō” is a cube measuring 8 meters in width, depth, and height, with mirrored surfaces on all sides. Projection systems on the ceiling, floor, and walls, together with a vertical video object called the “Monolith” standing at the center, work in response to one another to depict “kigō,” creating endless reflections. In addition, the cube-shaped mirrored “goshintai,” which symbolizes the space, moves freely overhead, shifting perspectives and stirring the visitor’s mind and thoughts. Using mirrors as a medium, the experience moves back and forth between meaning and matter, self and other, reality and virtuality, encouraging visitors to reconsider and reinterpret what life is and offering a prompt to “polish life.” *Elements that constitute a person’s individuality, such as their name, hobbies, preferences, voice, and appearance Two Types of Experiences, Two Different Perspectives The experience is offered in two modes: “Dialogue Mode” and “Installation Mode.” Dialogue Mode centers on the world of “computational nature,” as proposed by Ochiai, and the story connected to it, allowing visitors to let go of their “kigō” through verbal communication. In Installation Mode, visitors view simple patterned visuals, along with the Monolith and goshintai moving throughout the space, from the outer corridor, creating a non-verbal experience that lets them intuitively sense the structures at the essence of life. In both experiences, the story, visuals, sound, goshintai, and Monolith are all intricately linked, so WOW worked closely with Ochiai to craft a precise direction. Direction Where Technology and Expression Merge On the technical side, to create a more three-dimensional and densely layered experience, WOW integrated a wide range of direction elements, including AI-generated real-time video, display of 3D Gaussian splatting, sound generation, image effects, as well as the display and speech of MirroredBodies created by visitors in a dedicated app, and robot control for the goshintai and Monolith. In collaboration with various companies, WOW developed the main system that aggregates and controls these elements. In addition, the carefully designed sound direction, which makes use of characteristics across different frequency ranges, contributed to a unique auditory experience. Logo Design and Design Guidelines That Create Organic Expression WOW also handled the logo design for null². For the dynamic logo, multiple fonts were used to create a design that transforms into various forms. The static logo was refined from the dynamic logo as the official version. In both cases, the aim was to maintain a certain degree of legibility while pursuing a fluid, life-like design tone through verification and rule setting. In this project, the participating teams, including WOW, brought together all of their technical capabilities and creativity to create the work “null²,” something that could only have been realized at the Expo.

WOW participated in the BLUE OCEAN DOME at Expo 2025 Osaka, Kansai. At this pavilion, where visitors can learn about the sustainable use of marine resources and the protection of marine ecosystems, WOW was responsible for the direction and production of the video content. BLUE OCEAN DOME consists of three spaces under the theme of “the revival of the ocean.” It includes an installation expressing the spectrum of water, a video installation depicting the miracles and crises of Earth as the planet of water, and a space that presents a path toward restoring the ocean through documentary footage. WOW developed a hemispherical LED visual device about 10 meters in diameter together with Azlab. Through this one-of-a-kind, ultra-high-definition giant hemispherical LED screen, it brought Earth as seen from space to life. —The beautiful Earth, a miraculous water planet, is on the verge of being gravely damaged by human activity. This work depicts the ocean, where the brilliance of the chain of life and pollution progress simultaneously, across a range of scales from a vast view like looking at Earth from space to the cellular level. By fusing realistic depictions so true to life they could be mistaken for the real thing with dreamlike imagination, the piece sought to create an audiovisual experience as a “device for transforming consciousness” that appeals to the senses of visitors. The footage, supervised after fieldwork in biologically diverse marine areas and by the Japan Agency for Marine-Earth Science and Technology, vividly portrays everything from vibrant life to the realities of marine pollution through the meticulously crafted 3DCG for which WOW is known. In addition, Hatis Noit’s voice, resonating as if with the voices of all beings living in the sea, gave the imagery multidimensional depth. The hemispherical screen, covered by a parabolic cover, was precisely designed down to the number and arrangement of its supports, realizing two distortion-free curved surfaces. For the parabolic cover serving as the backdrop for the LED screen, a special paint that appears darker than black by absorbing light was used. A smooth base finish achieved through plasterwork and painstaking hand-applied painting created a jet-black screening space. The hemispherical screen itself was fabricated by hand, one small panel at a time. This ultra-high-definition display, with approximately 160,000 LED chips arranged at a 2.5 mm pitch, supported the overwhelming visual experience.

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.

Description: This being slowly rises from the ground and comes to a stop in the air. It is not being suspended, nor does it have any power source of its own. This being transcends the concept of mass, and remains still in midair, neither on the ground nor at the ceiling. At times it rises, at times it sinks, and at times it stays motionless in the air. At times it moves abruptly, and at times it falls to the ground. Yet as if restoring its own state, it slowly rises again and comes to rest in the air. It creates a special environment, and through that environment, it produces an order of energy at the center of space. And through that order of energy, it creates a being. Let us call this being created by the order of energy “High-Order Sculpture.” It cannot be separated from its environment, and changes as the environment changes. It transcends the conventional understanding of existence as objects, maintains its presence in midair, and restores its own state. It is a sculpture premised on an open system. Work page: https://www.teamlab.art/jp/ew/levitationvoid-phenomena/phenomena/

Video Installation
 Display, Web camera, PC, Video, Sound
Duration: variable
 Sound: AI-generated On March 27, 2025, the landscape between Tachikawa and Tama Center was recorded with a high-resolution high-speed camera through the window of the Tama Monorail in western Tokyo. Taking this single recording as its source material, this work rewrites the temporal and spatial structure of the image through digital coordinate transformation, thereby transforming the very temporal and spatial experience of 'passing' itself. Rendered through continuously varying timings and parameters, streams of transformed footage play on seamlessly, their paths shifting in response to the viewer's act of 'watching' or 'not watching' the screen. Responding to this non-linear generation, the sound is produced in real time through an AI model. Carrying its contradictions within, the landscape flows endlessly on — from right to left, without cease. In time, this flow quietly works upon the viewer's perception, and the relations between distance, speed, and time gradually come undone.

Floating in the air, a colossal sculpture is born from a sea of foam, transcending the concept of mass. It neither sinks to the ground nor rises all the way to the ceiling, but drifts somewhere in the middle of the space. The outline of this floating sculpture’s existence is ambiguous; it can break apart into smaller pieces or merge together into a larger mass. Even if a person enters it with their whole body, its existence is maintained, and even if it is broken by people, it repairs itself. However, when the mass is destroyed beyond the range it can repair on its own, the repairs cannot keep up and it begins to collapse. And even if people try to push it or move it aside, they cannot move this sculpture; if people fan wind at it, the sculpture will scatter. No physical action by humans can even move this sculpture. Pebbles, and things humans have made up to now, are objects, and objects have stable structures in themselves. A pebble continues to exist even if placed in a sealed box cut off from the outside world. By contrast, a vortex born in the sea disappears instantly when moved into a closed box. In other words, a vortex does not maintain a stable structure of its own. A vortex is an existence within the flow created by its environment, formed by water that continuously flows from outside the vortex to inside, and from inside to outside. Sustained by the structured order generated by that flow, the vortex continues to exist and changes along with the flow. And the outline of its existence is ambiguous: both the vortex and the outside of the vortex are made of water, with no material difference at all. Instead of creating objects, by creating a special environment, existence is created through the order of energy generated by that environment. Let us call existence formed by this order of energy “Higher-Order Sculpture.” It cannot be separated from its environment and changes as the environment changes. It transcends the conventional understanding of existence based on objects, maintains its presence in midair, and has an ambiguous outline. Even if a person enters it with their whole body, its existence is maintained, and if it is broken, it repairs its own existence. It is a sculpture premised on an open system. In this space, the only matter that exists is water, air, and ordinary soap. By filling the space with foam, creating a singular environment, and generating an order of energy within it, a colossal mass is born from the sea of bubbles, rises up, and remains suspended in midair. In current biology, it is not possible to define life strictly, but for convenience, living things are called organisms if they are composed of cells, metabolize, and can self-replicate. In other words, all living things are made of cells. And all cells are enclosed by cell membranes composed of lipid bilayers. The outside of the bilayer is hydrophilic, the space between the layers is hydrophobic, and both the outside and inside of the enclosing sac are water. Soap bubbles are similarly enclosed by membranes made of lipid bilayers, and the bubbles that constitute this sculpture are structurally the same as cell membranes. However, unlike cells, the outside of the bilayer in a bubble is hydrophobic and the space between the layers is hydrophilic, so both the outside and inside of the sac are air. In other words, if a cell is a sac-like membrane in water, a bubble is a sac-like membrane in air. This sculpture is created from matter with the same structure as cells, the basic units of living organisms, and from the order of energy generated by the environment. Life, too, takes in matter and energy from outside as food, expels matter, and dissipates energy outward while forming ordered structures. Like a vortex, life is an existence within the flow of matter and energy created by the external environment, and the outline of its existence is ambiguous. The structure of life is the order of energy created by that flow, and life may be a miraculous phenomenon found within the flow of matter and energy. Artwork page: https://www.teamlab.art/jp/ew/masslesssculpture-kyoto/kyoto/

Description: A work to be experienced while lying down, or sitting, in a state of bodily relaxation. The movement of hundreds of thousands of birds is beautiful and mysterious, appearing almost like one giant being. In other words, even when individual elements are separated in time and space, if there is order among them, the components may be perceived as a single existence that transcends time and space. And even if their surface form or size changes greatly, or the components are replaced, that one existence is maintained and recognized as the same existence. This time-space existence opens up a new possibility of existence, different from a physical object. This work depicts that time-space existence. Work page: https://www.teamlab.art/jp/ew/biocosmos-phenomena/phenomena/

Environment gives rise to phenomena, and phenomena create the work. Immersed in that new body of works, one becomes one with the environment. The work cannot exist on its own; environment gives rise to phenomena, and phenomena create the work. Pebbles and the things humans have made until now have been objects. Objects possess a stable structure in themselves and, separated from the outside world, continue to exist even when placed inside a sealed box. A vortex born in the sea, on the other hand, disappears the moment it is transferred into a closed box. A vortex does not maintain its structure by itself; it exists only within the flow created by its environment. It is formed by water that continuously flows from outside to inside, and from inside to outside, changing along with the flow. Its contours are indistinct, and there is no material difference between the vortex and the world outside it. Rather than making objects, create a special environment, and create works through the phenomena that environment brings forth. Let us call this “environmental phenomena.” Works cannot be separated from their environment; they change as the environment changes. Works are liberated from the material objects that have so far carried their existence. Even the ordinary things of everyday life—air, water, light—will become phenomena through unique environments, transforming into a new kind of existence. Transcending the common sense of what humans have made until now, works will retain their existence even when people enter them bodily, and will be repaired when broken. The boundaries of a work’s existence are indistinct and continuous with what lies outside it. However, if the environment is lost, the work will disappear. Human consciousness will expand from existence itself to the environment. Exhibition details: https://www.teamlab.art/jp/e/phenomena/

Color strokes are not grasped as a whole by anyone, nor are they directed, nor are they influenced from outside. As simple interactions arise locally between strokes, or between strokes and people, order continues to emerge on its own while moving toward disorder. Even if each one is separated in time and space, once order emerges among them, the constituent elements transcend spacetime and appear as a single existence. And even if their shapes and sizes undergo major superficial changes, or if the constituent elements are replaced, this spacetime existence is maintained. This spacetime existence is part of the sea of disorder, is swallowed up by the sea of disorder, and yet continues to be born again from the sea of disorder. Order and disorder, existence and the whole, have no boundaries and are continuous; they collide and blend together, yet keep rising and receding. Images created through lenses and perspective are spatial illusions that render three-dimensional space on a two-dimensional plane. Three-dimensional space appears beyond the two-dimensional plane, and that three-dimensional space and the viewer are separate spaces, with the two-dimensional plane serving as the boundary. The viewpoint is fixed, and the body is lost. Unlike these, this work is not a spatial illusion; the work space exists as it is in the same space as people’s bodies. Walls and floors do not become boundary surfaces between the viewer and the work space; the work space becomes one with the space occupied by people’s bodies. The viewer’s viewpoint is not fixed, and the body is free. Work page: https://www.teamlab.art/jp/ew/order-chaos-phenomena/phenomena/

We do not perceive the world we see. We see the world we perceive. Countless spheres of light. As people approach the spheres of light, they shine more intensely, and the surrounding spheres respond in turn, continuing one after another. If you widen your field of view and stare, spheres of darkness, like lumps of darkness that has solidified, also begin to appear. However, these spheres of light and darkness do not exist. The spheres of darkness do not even appear on camera. Nothing such as glass or any other object is present on the surface of the spheres of light; these spheres are made only of light. There is no material boundary surface, and the boundary between the sphere and the body remains ambiguous in perception. However, in this universe, light does not solidify, and it never forms into spherical masses by itself. In other words, these spheres of light do not exist. These spheres are not present in the physical world, but are sculptures that exist in the world of perception: "Cognitive Sculpture / Sculptures of Perception." Their material consists of light, the environment, the body, and perception. Shaped by the experiencer’s own dynamic body and perception, they appear and exist in the experiencer’s own perceptual world. When they exist in perception, that is existence. And the spheres cannot exist even in the world of perception on their own; they are created by the environment. The phenomena produced by the environment are the existence of the work. Work page: https://www.teamlab.art/jp/ew/masslesssuns-phenomena/phenomena/

Kazuki Abe Solo Exhibition: “Hand-Drawn Computation” Venue: Art Space Kimura ASK? 2F Dates: March 3–15, 2025 Under the theme of Hand-Drawn Computation, I developed a system that generates visuals from sound information. The system analyzes the characteristics of sound in real time and uses them as the basis for drawing images. The work actively incorporates elements associated with hand-drawn expression, such as free-flowing curves and subtle transformations of form. By reinterpreting the delicacy of hand-drawing as a sequential drawing algorithm, this project explores computational methods of image-making.

Even when each component is separated in time and space, if an order emerges among them, the components transcend spacetime and a singular existence appears. And even if its form and scale undergo dramatic surface-level change, or all of its components are replaced, that singular existence is maintained. This spacetime-based existence is a part of the whole, born from the whole, and returns to the whole. A living cosmos of temporal-spatial existences. An existence is born in space. It is born on the ground as a mass, rising up from the ground. It also appears in the air, transcending the concept of mass, and continues to exist fixed in midair. The contours of these existences are vague, and the glowing spheres that compose them are constantly replaced. Even if a person enters this existence with their whole body, the existence is maintained; even if it is broken by people, it repairs itself. And even if people try to push it or move it aside, the existence cannot be moved. Human physical actions cannot even budge this existence. Rather than creating an object, by creating a special environment, one creates an existence through the order of energy generated by that environment. Let us call these “Higher-Order Sculpture.” It cannot be separated from the environment, and changes along with environmental change. It transcends the conventional notion of existence as an object, remains present in midair, has vague contours, maintains its existence even when a person enters it with their whole body, and repairs its own existence when broken. This is sculpture premised on an open system. Work page: https://www.teamlab.art/jp/ew/morphingcontinuum-kyoto/kyoto/

Among countless cellular entities, artificial interventions influenced by human presence destroy them, drawing vortices in the process. Yet the painted image receives a continuous influx of energy from outside, autonomously forming a highly ordered steady state of energy, then being once again covered over by newly born cellular entities and returning. Countless particles, and the painted image as well, are all part of the whole, born from the whole and reduced back into the whole. Work page: https://www.teamlab.art/jp/ew/transientabstractlife-resonance-kyoto/kyoto/