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.

Silent, Seamless Loop (21 min) A video installation that records waves washing up on and receding from the shore, then applies digital manipulation to transform the temporal and spatial position of every pixel. As a result, the passage of time gradually shifts from one part of the frame to another. This multiplication of time breaks down and estranges the movement of the incoming waves, while at the same time acting on the viewer’s sense of time and perception of space. The work itself has a seamless loop structure with neither beginning nor end, drawing the viewer into a distinctive spacetime.

3-channel video, silent 48:49 seamless loop Presented in Furusawa’s solo exhibition held in January 2024 as a new work in the MidTide series, which he has been developing since 2023. This work is a video installation created on the coast of Minamiboso, Chiba Prefecture, where waves and rocks were captured in the frame and approximately three and a half hours of changes in light and tide were recorded. Using that footage as source material, the artist then carried out data manipulations that reconfigure the temporal dimension of the video. If the footage is arranged as a sequence of still images, it can be represented as a three-dimensional space in which time becomes the depth axis. Video playback is the process of moving one cross-section of this solid form continuously from front to back, but in this work that linear trajectory is intentionally deviated from and allowed to rotate freely. The time treated here is different from the time we ordinarily experience. Unlike normal experience, only the waves, as the subject, retain their form and motion, indicating the passage of time. Just as changes in the tide quietly transform the landscape before one realizes it, this work subtly erodes the viewer’s perception of time and space. This work digitally reinterprets traditional temporal expression in the video medium and explores new possibilities for the visual experience of moving images.

This is a multi-channel video installation work created by filming a seascape of waves for an extended period with a fixed camera, and by applying temporal manipulation to environmental sound data. States in which the progression, stagnation, reversal, compression, and expansion of time and space gradually shift and invert are repeated. The video and audio are processed in the same way, and by matching them to the positions of four speakers arranged in line with the three displays, when you move closer to the screen, the environmental sound corresponding to that part and timing can be heard. In this way, the sound and image of each breaking wave that repeatedly appears are tied to the flow of time at the moment of filming. The work also has a seamless loop structure. There is no major change in the overall time axis in relation to the repeating waves. The sun does not set, and the tide does not rise or fall. Eternally repeating, suspended time and space gradually draw in the viewer’s perception as well.

These video works are reconstructed from filmed image data based on “wave” landscapes through transformations of time (frames) and space (the vertical and horizontal dimensions of the screen). Since 2020, this has also been an ongoing project that examines the perception of spacetime through the medium of video, while updating its transformation algorithms and filming methods. In the works, various cyclical differences that exist in the landscape appear as textures in the image. These naturally bring new perspectives and make visible the ways in which we perceive space and time. For example, a stationary object such as a rock, when the time axis is replaced by the horizontal axis, loses its sense of scale and appears as a flat band of color crossing the screen. Meanwhile, the ever-changing sea surface retains its wave form while undergoing distortion. This is because waves possess a certain symmetry with respect to the spacetime dimensions. In this way, the people, objects, and waves that appear each have different rhythms and vectors, and emerge on the screen as movements of color and texture. These video works are also traces of the artist’s practice of seeking out the hidden rhythms of nature.

While exploring a method of adapting the “visual experience of traversing between reality and fiction,” which the artist collective Yof has prioritized in its work, to the filmmaking process itself—from shooting to post-production—we developed the concept. In practice, the video was made through a one-take long shot and manipulation of the time axis in post-production. In the one-take shoot, during the chorus, confetti falls all around while only Satoko Shibata remains completely still, which became the key condition for realizing the idea behind this music video. By applying detailed time-axis adjustments to each section in post-production, the stillness of Shibata remains unchanged, while the confetti falling around her displays a variety of behaviors: only the confetti moves in reverse, it is drawn inward toward the center of the frame, or it becomes extremely compressed and transforms into something like noise. This contrast between stillness and motion serves as the foundation for creating a distorted sense of reality. Later in the middle section, by moving the camera while keeping Shibata’s framing fixed, even the background is warped and distorted, and the sparkling paper fragments drifting down, combined with the progression of the song, create a striking scene that evokes an otherworldly atmosphere, almost as if at the far reaches of the galaxy.