NHK番組「8Kテクネ」のコンテンツとして制作した８K映像作品。８Kの超解像度によって生じるスケール感を見失う現象を映像手法として捉え、日常によく見かける石を使って対極的なスケールの惑星間旅行を描く。撮影は専用装置とマクロ撮影で行い、CGで制作した宇宙船が合成されている。ディレクション、美術、VFX制作、音楽を担当。

A real-time, online game-like video installation that changes as it unfolds. Visitors can participate and experience it through their own smartphones or tablets installed in the exhibition space. By answering psychological test-like questions presented in the dedicated app, they can create “their own face.” By uploading that face, they can add “their own face” to the planet within the work. The planet is composed of nine faces, and as they respond to one another, they continue to generate a wide range of dramas. Like human beings, the lively faces on the planet speak of everything from the mundane to the lofty, laugh, cry, affirm each other’s existence, and, however briefly, clearly show that they once existed on this “Planet of Faces.”

A work that depicts a romance between humans and technology as a performance installation. Humans and technology (a skin-colored gorilla) attempt to become one through “skin garments.” Technology turns its thoughts to the finite twilight that humans possess, while humans gaze toward the infinite galaxy that technology possesses. Whether they are embracing each other or restraining each other, both are drowning in a sea of intimate distance. Humans are addicted to technology, and at the same time, technology is also addicted to humans. While loving technology, how can we also love humans? By finding an intermediate zone between pleasure and despair, I want to project it onto the sexuality of us humans living in the present.

In this work, the viewer sequentially inhabits various characters (avatars) living in a room within a spacious apartment building, inside a virtual space. The person playing music, the person watering flowers, and the people having conversations do not interact with one another, as if each were living in a separate reality. Experiencing the reality of each character (avatar), who inhabit the same space yet never cross paths, through VR is frustrating because you cannot control the avatars’ movements, while at the same time it feels intensely real. In the end, there is a twist in which you are possessed by another avatar, reminding you that you are not always the center of the world, and that you too are someone else’s other.

In this work, the VR participant is exhibited in the venue as a “sculptural work.” The viewer wears a VR headset and a full set of VR walking apparatus (Virtuix Omni) mounted on a pedestal, and experiences the work while holding a gun-shaped controller. This shooting-game-style piece allows the viewer to shoot a gun to gradually open up their field of vision and acquire the scenery before them. Toward the end of the experience, a treasure chest appears deep inside the museum; when it is opened, the Medusa painted by Caravaggio leaps out. The viewer, gazed upon by Medusa, is turned into a stone statue, and the experience ends with them displayed on a pedestal as one of the museum’s exhibits. This work does not merely invite participation in a game, but turns the very situation of viewing a VR work into the work itself.

2020 年に大ヒットしたテレビゲームソフト「あつまれ どうぶつの森」のオマージュとして制作したパフォーマンス作品。 コロナ禍の拡大に伴い、バーチャルなコミュニケーションが一般化した日本社会の中で、「リアルとバーチャルが完全に代替されることはないはずだ」という問題意識から本作を制作した。観客は自身のスマートフォンやパソコンからどこからでも作品に関与することができる。 ゲーム画面を通して観客が行った操作が、展示会場にいるパフォーマーである山内本人の行動を決定する。会場では「バナナを食べて」や「箱を運んで」といった指令に従ったり、時には拒否したりする生身の山内を見ることができる。ゲーム上の山内のアバターは、生身の山内の指示で動いている。しかし、オンライン上のアバターは終始にこやかで緩い雰囲気を保っているのに対し、実際の山内本人は自らの身体を酷使する事で疲弊し、表情をなくしてゆく。このギャップが、バーチャルとリアルの差異を強く印象付ける作品である。