This was created as the music video for “cloudland,” a track from musician VOQ’s first album YONA, released by PROGRESSIVES FOrM in April 2018. While it is also a music video, it is a “painting of time” that repeatedly draws similar images, and is intended as a visual expression as a painter, one that seeks to see the nonlocality of where images reside. This work was created for the exhibition “OBAKE TO PANTS TO OHSAMAZA—A Place Where Children Can Stay Children” (2013) at the Museum of Contemporary Art Tokyo, and is also a re-creation of the installation of the drawing animation work Okama kabutte chotto dance (2013), made together with an early version of VOQ’s song “cloudland.” Since the projector was set vertically and projected onto the wall, please view the screen vertically if possible.

This was created as the music video for “lulu,” a track from musician VOQ’s first album, YONA, released by PROGRESSIVES FOrM in April 2018. Although it is also a music video, it is a “painting of time” that repeatedly depicts similar images, and is intended as a visual expression by a painter, with the aim of observing the nonlocality of where images exist. This work is also a recreation of the installation of the drawing animation work End o wo Terasumono 2 (2011), which was created for the solo exhibition “End o wo Terasumono 1” (2010) at Take Ninagawa (Higashi-Azabu) and for the exhibition “The 3rd Yebisu International Festival for Art and Alternative Visions: Daydream Believer!!” (2011) at the Tokyo Photographic Art Museum, along with an early version of VOQ’s same song “lulu.” It is planned to be further added to and released as a short film titled End o wo Terasumono.

This was produced as the music video for “yona,” the title track from musician VOQ’s first album, *YONA*, released by PROGRESSIVES FOrM in April 2018. Although it is a music video, it is also a “painting of time” that repeatedly depicts similar images, and it is intended as a visual expression by a painter, seeking to observe the nonlocality of where images reside. For the jacket of the album *YONA*, I drew 52 birdlike ghost figures with pencil and pastel, and to animate them, I drew the in-between footage connecting each drawing with pencil. In that process, I drew while monitoring the images on video and looking at the mirrored picture, rather than at the paper itself. It is also a drawing animation work titled *52 Specters*. It is also a continuation of *SA YONA RA* (2012), a drawing animation work created together with an early version of VOQ’s song “yona,” as a bonus for the special edition binding of *Sayonara, SAYO NARA* (2012), a book-like object produced with Hideyuki Saitow, art director of the publisher/gallery Shoshi Saikoro (Koenji).

This was created as a music video for “swanna,” a track from musician VOQ’s first album, YONA, released by PROGRESSIVES FOrM in April 2018. While it is a music video, it is also a “painting of time” that repeatedly depicts similar images, intended as a visual expression by a painter who wants to see the nonlocality of where images reside. This work is also the drawing animation piece My Name Is Nobody (2011), created for the art project “TERATOTERA Festival 2011: Video,” which connects people with people and cities with cities through art in the areas along the Chuo Line. It was screened at the Kichijoji BAUS Theater together with an early version of VOQ’s same track “swanna.”

This was created as the music video for “conadona,” a track from musician VOQ’s first album, YONA, released by PROGRESSIVES FOrM in April 2018. Although it is a music video, it is also a “painting of time” that repeatedly depicts similar images, with the intention of using video as a pictorial form to explore the nonlocality of where images reside. The flying and falling books were drawn as symbols of the countless books in this world and of the knowledge each person has acquired, imagined in terms of what unknown relationships might exist between their presences. This work is also the drawing-animation piece ANOTHER VIEW, created for the exhibition “Tobi Selection Group Exhibition Open Call: The First ‘Unknown Gaze’” (2012) at the Tokyo Metropolitan Art Museum, which was planned with artists Yuga Akasaka and Daisuke Nagaoka.

Musician VOQ created this as a music video for “fallon,” a track from his second album, VEILS, released by PROGRESSIVES FOrM in November 2018. Although it is a music video, it is also a “painting of time” that repeatedly draws similar images, and an attempt to create a visual expression as a painter that seeks to see the nonlocality of where images reside. This work was made for a friend’s child, with the hope of becoming a video that would remain in someone’s mind, like something seen in childhood and remembered into adulthood, after participating in the exhibition “O-bake to Pants to Ohoshisama—A Place Where Children Can Be Children” (2013) at the Museum of Contemporary Art Tokyo. It is also a recreation of the installation of the drawing-animation work Nanashi no Nagame (2013), which was made together with an early version of VOQ’s song “fallon.”

This was created as the music video for “grow glow,” a track from musician VOQ’s second album, VEILS, released by PROGRESSIVES FOrM in November 2018. Although it is a music video, it is also a “painting of time” that repeatedly depicts similar images, with the intention of exploring the nonlocality of where images reside, and of expressing video as a painterly medium. (You should not point a video camera at the sun, as it will break...) It combines live-action footage of sunlight captured through the gaps between fingers while covering the lens by hand, with drawing animation. This work was created for the exhibition “Moving Image Festival MOVING 2011” at Kyoto Cinema, and is also the drawing-animation work Halo (2011), combined with an early version of VOQ’s “grow glow.”

This was produced as a music video for “qov,” a track from musician VOQ’s second album, VEILS, released by PROGRESSIVES FOrM in November 2018. Although it is a music video, it is also a “painting of time” that repeatedly depicts similar images, and is intended as a visual expression as a painter, with the aim of exploring the nonlocality of where images exist. This work was created by revising UNDER A HIMALAYAN CEDAR (2012), a drawing animation originally made for live screening at YUKAWATANA (Shouei-cho, Tottori City), run by independent curator Azumi Akai, and adding to it as a work exhibited in Animals & Silhouette, an exhibition held at Earth & Salt (Hiroo, Shibuya-ku) and curated by designer Yumiko Yokoyama, together with an early version of VOQ’s song “qov.”

Music artist VOQ created this as the music video for “whoyouare,” a track from the second album VEILS, released by PROGRESSIVES FOrM in November 2018. While it is a music video, it is also a “painting of time” that repeatedly depicts similar images, intended as a visual expression by a painter seeking to observe the non-locality of where images reside. This work was originally produced for the exhibition “Unknown Nature” (2014) at Ayumi Gallery (Kagurazaka), curated by independent curator Chika Kato, and it is also the drawing-animation work The Last Indian (2014), paired with an early version of VOQ’s same song “whoyouare.”

Musician VOQ created this as a music video for “nova,” a track from his second album, VEILS, released by PROGRESSIVES FOrM in November 2018. While it is also a music video, it is a “painting of time” that repeatedly depicts similar images, with the intention of exploring the nonlocality of where images exist, and of expressing video as a painter. This work is also the drawing-animation piece Follow Me (2016), made for display and screening in a former shop in a shopping street as part of Fukui Yume Art 2016, hosted by Fukui City, together with an early version of VOQ’s song “nova.” It also includes additions and re-editing of an unused title sequence from the NHK Educational TV program Beauty and Encounter (2001).

This was created as the music video for “flowerlang,” a track from musician VOQ’s first album, YONA, released in April 2018 by PROGRESSIVES FOrM. While it is a music video, it is also a “painting of time” in which similar images are drawn repeatedly, with the intention of exploring the nonlocality of where images reside, and of expressing video as a form of painting. This work is also the drawing animation piece Tales of Flower (2012), created together with an early version of VOQ’s “flowerlang” for the exhibition “Moving Images Festival MOVING 2012: MOVING Exhibition” at the Kyoto Art Center.