In conjunction with the launch of Kurashiki Kako Co., Ltd.’s new corporate brand, “KURATECA,” we were responsible for the direction, design, and editing of the brand concept film. Kurashiki Kako provides products that support comfortable and safe living, leveraging its vibration and anti-vibration technologies used across a wide range of fields. By visualizing this invisible vibration control technology through live-action footage and animation, we created a film that conveys the company’s solid, life-integrated technology and helps support its outreach to the world.

The world premiere of the stage art work THE TRIP -Enter The Black Hole-, led by Jeff Mills, was performed in Tokyo on April 1, 2024. This is the world premiere of THE TRIP -Enter The Black Hole-, a stage art work co-produced by Jeff Mills, the world-renowned DJ and pioneer of Detroit techno, and COSMIC LAB, one of Japan’s most innovative visual teams. With black holes as its theme, Jeff Mills handled the overall direction, script, and music, while COSMIC LAB expanded his vision of the cosmos and way of thinking through visual direction. In addition, Juju Togawa, who like Jeff Mills has been active since the early 1980s, joined as a singer, and choreographer Hiroaki Umeda, internationally acclaimed for his cross-disciplinary work spanning contemporary dance and digital art, was also part of the production. The stage costumes for each performer were designed by Hiroshi Ochiai of FACETASM, one of Japan’s leading fashion brands. This live expanded cinema work, a journey to the farthest reaches of the universe and an exploration of the deepest depths of the mind, was performed at ZEROTOKYO, equipped with a visual system developed by COSMIC LAB and state-of-the-art sound facilities.

Commentary: [triggering Save Lives ver.] is a new work born in response to the global pandemic, continuing the original [triggering] performance. A visualized representation of COVID-19 has been added to the conventional geometric motifs of [triggering], further enhancing the original interplay between sound and image. The work aims to create a stark contrast between “synesthesia,” the original theme of triggering, and the “chaos” brought about by the ongoing pandemic. “triggering Save Lives ver.” is an updated version of the AV work “triggering” series, which has been performed since 2014, and was created amid the global pandemic. By adding visualized representations of COVID-19 to the synchronization of sound with conventional geometric motifs and color patterns, the work aims to move back and forth between “synesthesia,” the theme of triggering, and the “chaos” caused by the pandemic.

女優・横田真悠さんのお気に入りのJapanese Hip Hop レーベル「SUMMIT」のプレイリストを、彼女がユルい1日を過ごす映像と共に楽しめるBGV(Background Video)コンテンツ「Mayuu’s Chill Out Tunes」を、ASIACROSS、HATAMA、SPOONと共に企画・制作しました。 Morning(朝)、 Afternoon(午後)、Evening(夕方)、Night(夜)、Midnight(真夜中)、計5つのシチュエーションを制作し、合計約9時間の長編となっています。起床して歯を磨くシーン、お昼ご飯を食べながらリビングでくつろぐシーン、夕焼けをバックに電話をするシーン、眠りにつく瞬間など、包み隠さないナチュラルな横田さんと共に、音楽を楽しみながらまったりと1日を一緒に過ごす体験ができます。横田さん自身が Japanese Hip Hop 好きであるということから発想し、彼女のタレント性を活かしたよりクオリティの高いBGVコンテンツにすることで、繰り返し視聴いただくことを目指しました。

本作品はソーシャル・ディスタンスを保ちながら特殊なカメラ装置とハイスペック PC による画像処理を組み合わせて新たな身体表現、映像表現の可能性を提案する作品。ダンサーの身体構造と動きによって作られる身体情報をさまざまなルールを用いて分解し再構築を行うことで、身体そのものだけでは作ることが出来ない幾何学的世界を生成する。 This is a new work that proposes new possibilities of physical and visual expression by combining a special camera device and image processing capability of high spec PC while keeping a social distance. By decomposing and reconstructing information of the dancer's body structure and movements using various rules, this work creates a geometric world that cannot be created by the body alone.

1人のMCと1本のマイク。そしてシンプルなビート。スタジオにあるのはそれだけ。ミニマルに削ぎ落とされた状況で、どんな言葉が紡がれるのか。Red Bull Music による特別企画 、64小節を一発録りするコンテンツシリーズ「64 Bars」 のシーズン２をJKDがプロデュースしました。キュレーターにAnarchyを迎え、Miles Word, Leon, Chinza Dopeness, など、今最も旬なラッパー９名、トラックメイカー９名を世代を超えてフィーチャーしています。

アイヌ文化の普及啓発活動に取り組む阿寒アイヌ工芸協同組合と、日本版地域DMOとして観光地域づくりに取り組むNPO法人阿寒観光協会まちづくり推進機構が、阿寒湖アイヌシアター「イコㇿ※1」の演目を一新。デジタルアートとアイヌ古式舞踊を融合した新プログラム「阿寒ユーカラ※2『ロストカムイ』」が、2019年3月19日から一般上演開始となった。WOWは、舞台映像の演出・制作を担当した。 本プログラムは、阿寒湖温泉のアイヌの人々が継承してきた歌や踊りなどの伝統文化を、国内外から同地を訪れる多くの人々に知ってもらうために企画された。ヨシダナギ、Kuniyuki Takahashi、UNO、WOW、坂本大輔（JTBコミュニケーションデザイン）といった、写真やデジタルアート、サウンドデザインなどの分野で注目を集めるクリエイターが阿寒湖に集結。アイヌ古式舞踊、現代舞踊、3DCG、7.1chサラウンドを組み合わせ、5台のプロジェクターで舞台を立体化した新演目「ロストカムイ」を制作した。 同作では、「アイヌとエゾオオカミとの共生」をテーマとした物語がデジタル技術と舞踊で立体的に再現され、自然を尊び共存してきたアイヌの人々の暮らしの中から生まれた歌や踊りなど、アイヌの世界観を存分に体感することができる。加えて、「アイヌ古式舞踊」と「イオマンテの火まつり 」の演目もリニューアルし、伝統的かつ斬新な演出でアイヌ文化を紹介している。 ※1「イコㇿ」はアイヌ語で「宝物」の意味。小さい「ㇿ」はアイヌ語音を表現したもの。 ※2「ユーカラ」はアイヌ民族に伝わる「叙事詩」を意味する言葉。

A laid-back talk show featuring the kappa Panini and a puppet of a human child voiced by a voice actor. The show also expanded beyond the program itself into live events. This was a project I planned and brought to life independently because I wanted to create something like s◯kus◯ku-style content, but with voice actors. We also produced in-show animation and puppet comedy sketches. Be sure to check out the opening theme song, “Would You Still Be My Friend If I Had Three Anuses?”, sung by Shunichi Toki and Kento Hama!!

The 21st installment of "JapEn," a collaboration video project that caps off a year of pen spinning in Japan.

Live production for Midnight Grand Orchestra, the music unit of Hoshimachi Suisei and Taku Inoue

Promotional video for the Spring/Summer 2025 collection of BOKURA WORKS, a brand for young workers.

As the culmination of an ongoing music and visual collaboration project with sound producer SKYTOPIA, an EP release party was held. I was in charge of VJing from the latter half of the setlist. Making bold use of the permanent 4K LED screen at Daikanyama Theater Guild, the performance was designed to envelop the entire space. For this show, an Audio Reactive system using TouchDesigner was introduced for the first time. By generating visuals and effects that respond to audio signals in real time, the performance aimed to create an expression in which sound and imagery merge dynamically. On the other hand, there were no shortage of challenges on the technical side, including the complexity of the COMP structure and the flexibility of operation. Going forward, I plan to continue making updates, with an eye toward redesigning the system, including improvements to the layout and operability.

This is a recording of a solo live performance given at the audiovisual event “Flow vol.8” (2025), held at Ritsumeikan University’s Osaka Ibaraki Campus. All of the sound and visuals were performed live in real time by a single person. A 300-inch LED screen was installed in the venue, and the glass windows beside it reflected the screen like a mirror at night. To make use of this environment in the performance, the visuals were designed to move back and forth between the physical screen and its reflected image. Specifically, the visuals were rendered on a canvas equivalent to two screens wide, then folded back and overlaid before being displayed on the screen, allowing the image to move from the screen to the glass and back again. The audience experiences the boundary between the actual screen and the virtual image dissolving, with the visuals freely circulating between the two. The title “Mirrored” comes from this reflective structure. In addition, since the brightness of the 300-inch LED screen itself functions as the venue lighting, the overall light and darkness of the space, as well as the pacing of the performance, were designed through the use of flashes and control of the screen’s overall brightness. The music and visuals are synchronized via OSC, and all images are rendered and controlled in real time. The sound is spatially arranged through 4-channel surround output, and together with the reflected visuals, the performance is designed to envelop the audience through both sight and sound. It is a one-of-a-kind performance inspired by the specific conditions of the venue, and possible only in that place.