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/

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/

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/

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/

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/

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/

The outline of life’s existence is not the boundary of the physical body, but something ambiguous that also includes the environment continuous with it. As long as life is alive, it dissipates energy and moves the surrounding environment, such as the air. This work depicts the existence of a flock of birds through the energy the flock has given to the world. The existence called “I” is the mind, the body, and the environment continuous with them. A pebble, and things that humans have made up to now, have stable structures in and of themselves. Life, however, is different. A pebble will continue to exist even if it is placed in a sealed box cut off from the outside world, but life cannot maintain its existence when placed in such a closed box. Life is like a vortex born in the sea. A vortex is an existence within a flow, and the boundaries of its existence are ambiguous. In fact, a vortex is in a steady state, yet continues to writhe and appears like a single powerful living being. A vortex is not something that maintains a stable structure on its own; it is created by water continuously flowing from outside the vortex to inside it, and from inside to outside, and its structure is sustained by that flow. Life, too, takes in matter and energy from outside as food, releases matter, and dissipates energy outward while building an ordered structure. In other words, the structure of life is formed not by life itself, but by the environment continuous with it. Life is a miraculous phenomenon that arises in the flow of an open world, and like a vortex in the sea, it exists within an infinite continuum, with ambiguous boundaries to its existence. To be alive is to continue dissipating energy into the world and to remain continuous with the world. Work page: https://www.teamlab.art/jp/w/dissipative_birds/himeji/

A tiny light born in the darkness returns to the darkness again. Artwork page: https://www.teamlab.art/jp/ew/life-ephemerallight-seadarkness-field/field/

Description: On a night of heavy rain, the rain falling on the grasslands becomes a work of art. Countless masses of light float in the air. Each mass of light is composed of two colors, with the boundary between the colors clearly separated as if it were solid. These masses of light, with sharply defined color boundaries unlike anything seen in nature, arise from extreme synchronization. Synchronization can be said to be the result of a synchronization phenomenon, a form of self-organization along the axis of time that creates large structures with order. When you touch a mass of light, you realize that what you had been seeing was part of the rain falling continuously without interruption. Life is like a fleeting crystal of light, a miraculous solidification within a continuum of energy that has kept flowing without interruption from a past whose beginning we cannot know. Work page: https://www.teamlab.art/jp/ew/ephemeral-crystallizedrain-field/field/

According to various studies, in forests, trees are connected to one another through networks of mycorrhizal fungi, recognizing each other and exchanging nutrients. At the center of this coexistence and mutual support are large, long-lived trees. Forest ecologist Suzanne Simard calls such large trees mother trees. When a person approaches the tree, the nearest sphere glows brightly and emits a tone. The surrounding spheres respond one after another, continuing in sequence as they glow and sound. The tree is a tabunoki, a Japanese bay tree. In the poem “Iso no ue no tsumama o mireba ne o hae te toshifukakarashi kami sabinikeri” from the Man'yōshū, the oldest existing anthology of Japanese poetry, compiled from the late 7th century to the late 8th century, the word “tsumama” is said to refer to the tabunoki. The meaning is: “Looking at tsumama on the seaside rocks, it seems to have spread its roots far and lived many years. It has become divine.” Even 1,200 years ago, people may have felt a sense of mystery when seeing roots extending far into the forest as a whole. Work page: https://www.teamlab.art/jp/ew/tabunoki-tree-izura/izura/

Description: Beyond the deep forest on the mountain by the sea, there was a valley. There, we found the remains of rain-fed rice terraces, now turned into a wetland covered with reeds. It seemed like a secret rice terrace. As I reflected on the long passage of time in which nature and human activity have continued in succession, I decided to create a work based on the traces of rice terraces hidden in the forest. Artwork page: https://www.teamlab.art/jp/ew/hidden-traces-of-rice-terraces-izura/izura/

Description: Clusters of spacetime stand in abundance, and each cluster connects with the spacetime of the others. Within the mass of darkness, they begin to burn, then return to darkness again and again. They affect the surrounding area. When people stand before the flames burning inside the clusters, a black, absolute presence appears. Flames are a phenomenon of light and heat generated by combustion; they are also vaporized or decomposed matter within a flow, and an experiential sensation we perceive when seeing the boundary between phenomenon and substance. People recognize flames, an experiential sensation, as though they were a single object, and sometimes feel life within them. By the flow of combusting gas in clusters of spacetime, lines are drawn in space, and flames are created from the three-dimensional aggregation of those lines, then flattened by teamLab’s concept of a “super subjective space,” and the flames are rendered. teamLab is exploring the concept of “Distributed Art.” When you approach the flames of the work with the 《Distributed Fire》 app, a flame lights up on your smartphone, and you can take the work home with you. When you bring that carried flame near another person’s smartphone, a flame will light up there as well. By connecting the flame to someone else, and then to someone else again, the flames spread throughout the world. The entire expanding cluster of flames is drawn on the Flame Map. In Distributed Art, some works replicate themselves, while others share part of themselves with people. A work that has been passed into people’s hands will again generate its own replicas, as people actively disperse it. The work exists in a distributed way across people’s networks, and will become a decentralized art form. When the work exists on the network, it continues to exist even if the original disappears. Work page: https://www.teamlab.art/jp/ew/fireparticles-darkness-jeddah/jeddah/

When people touch flowers, the flowers fall and die. When people touch sand, the falling sand breaks. Since ancient times, people have watched sand fall and come to understand the concept of fleeting time, and through the changing of blooming flowers, they have sensed the passage of long time. The time carried by falling sand, the time in which flowers are born and die again and again, and the time of the human body—these different times intersect and overlap. The space of the flowers is framed by teamLab’s concept of “ultrasubjective space,” so unlike space framed by a lens or perspective, the viewer’s point of view is not fixed, and the body is liberated. And the wall on which the flowers are projected does not become a boundary between us and the artwork; the space of the flowers continues seamlessly with the space in which people’s bodies exist. Artwork page: https://www.teamlab.art/jp/ew/life-sandfall-jeddah/jeddah/

The “Light Sculpture - Flow” series gives rise to a massive light sculpture made of flowing light, which surges, expands, and envelops people. The Light Sculpture that is born in a space called “Asymmetric Space” emerges as a different, asymmetric existence from both physical space and the world inside the mirror, moving back and forth between the real world and the world inside the mirror. TeamLab has previously created immaterial sculptures—“spatial sculptures with ambiguous boundaries.” “Why do we sense an existence in a whirlpool in the sea? And why do we even perceive it as life? Even if the components are separated spatially and temporally, when order is formed within the parts, the parts are recognized as a single existence, and at times are even felt as something life-like.” Based on this idea, a collective of flowing light creates a living cosmos. Concept details: https://www.teamlab.art/jp/concept/lightsculpture-flow

Viewed from the center near the entrance of the space. This work begins when the school of fish from 《The Way of the Sea》 enters “Cosmic Void.” When the school leaves the space and disappears, the work comes to an end. If you stand at the center near the entrance of the space, the boundary between wall and floor disappears, the real space vanishes, and the lines traced by the school’s movement begin to draw themselves three-dimensionally through the space. You become bodily immersed in the world of the work, and people will gradually lose the boundary between their bodies and the work’s world. The school of fish, drawn in light, swims freely through the space, and its traces become trails of light, drawing lines in the space. In Zen, there is a term called “chido,” or the path of birds. The way birds travel is not fixed like a human “road”; it means freedom and the absence of traces. The movement of schools of several thousand to tens of thousands of fish is beautiful and mysterious, seeming almost like a single gigantic life form. It is said that there is no leader in the school and no communication; instead, they move according to simple rules such as moving when the neighboring fish move. However, the physiological mechanism behind the near-simultaneous movements seen in schools of hundreds of fish remains shrouded in mystery. It feels as if there is a universal principle at work here that humanity has not yet understood. The work is continuously drawn in real time by a computer program. It is not a playback of prerecorded video. As a whole, it continues to transform without ever reproducing a previous state. The picture of this very moment can never be seen again. Work page: https://www.teamlab.art/jp/ew/wayofthesea-cosmicvoid-azabudai/tokyo/

Description: Through a multilayered collection of lines—some extending toward us, others stretching away—the flames are depicted as they melt and dissolve. The painting that emerges is determined by the focus of one’s own bodily eyes, yet that focus moves dynamically beyond one’s own will. Work page: https://www.teamlab.art/jp/ew/fire-of-particles-dissolving-azabudai/tokyo/

Inside the spheres, there are myriad lights intermingled: lights with tangible material existence, large, strong lights like soap bubbles, huge, weak, jiggly lights like lumps of jelly, and lights generated by the surrounding environment. Within the spheres, some lights keep moving while others remain completely still. The light in each sphere cannot generate everything on its own; the other spheres become the environment, and the environment generates the myriad lights within each sphere. Each sphere becomes part of the environment that generates the light of the other spheres, and the phenomena created by the environment are the existence of the work. Also, except for the material light, such as the soap-bubble-like light and the jelly-like light that appears strongly within spheres at higher positions, the light does not physically exist inside the spheres; it exists in perception. And when it exists in perception, it is existence. When a person stops near a sphere and remains still, the nearest sphere shines brightly and resounds with a tone, and the light propagates from that sphere to the nearest sphere. The propagated light continues on to the next nearest sphere, and so on. The light always continues only to the nearest sphere, passing through each sphere only once, becoming a single light path that traverses all the spheres. And the light born from oneself and the light born from others intersect. The seemingly random arrangement of the spheres is a configuration in which the light generated by people’s presence continues from sphere to sphere, a configuration for the beauty of continuity itself. Specifically, the positions of the spheres in space are mathematically determined so that, when lines are drawn from each sphere to the nearest sphere in three-dimensional space, they form a single connected line that can be drawn in one stroke, with the same start and end point (unicursal), and so that the line, which becomes the path of light, is beautiful. As a result, although the light of the spheres responding to people only propagates to the nearest sphere, it passes through all the spheres only once, like a one-stroke drawing. At the same time, it intersects with the light generated by others during the same period. This is a work that expresses the beauty of continuity in the light created when people interact with spheres in free spaces. Work page: https://www.teamlab.art/jp/ew/bubbleuniverse-azabudai/tokyo/?autoplay=true

The contours of life’s existence are ambiguous, not defined by the boundary of the body itself, but by the surrounding environment that is continuous with it. This work is a massive sculpture group that continuously depicts the energy birds actually flying around it impart to the surrounding environment. When birds fly, their energy moves through the environment, such as the air. In the wind blowing here and now, the energy dissipated by the birds is depicted as the present moment’s wind is infused with the memory of the birds flying at this instant, and of the birds that flew from sunrise to sunset today. If no birds fly around the sculptures, this sculpture group becomes completely dark, dissolves into the darkness, and is almost nonexistent. On the island in the pond where the sculptures stand, in order to create an environment favorable to birds, plants that birds like are planted along with the sculptures, including vegetation that attracts the insects birds eat. This sculpture group comes into existence through birds gathering around these plants. However, birds, and insects as well, do not exist solely through the vegetation on the pond island; they exist through the forest and pond ecosystem of the vast botanical garden. The contours of this sculpture group’s existence are also not the boundary surface of a material sculpture, but continuous and ambiguous in relation to the surrounding environment. “teamLab Botanical Garden Osaka” (Nagai Botanical Garden, Osaka) Exhibition details: https://www.teamlab.art/jp/e/botanicalgarden/ Work details: https://www.teamlab.art/jp/w/sculptures_of_dissipative_birds/botanicalgarden/

With the concept of “catch, observe, and release,” this new learning project focuses on exploring with your own body, discovering, catching, and then expanding your interests through what you have caught. Using a smartphone in hand, you explore, catch various prehistoric animals such as dinosaurs, observe them, and build your own collection guidebook. In Dinosaur Forest, dinosaurs and other prehistoric animals live. When you touch an animal, it turns around or runs away. When you use the app’s camera to look at the animals moving through the space, and fire an “observation arrow” at an animal visible in the camera, the arrow flies into the real-world space. When the “observation arrow” hits, the animal disappears from the space and enters your smartphone. Information about the animal you observed is collected in the app’s guidebook. If you swipe a caught animal to a location visible in the app’s camera, it is released and returns to that place. Also, if you throw down an “observation net” at a place you like, you can spread the net at your feet. Working together with people around you, use your body to drive the animals into the “observation net” and catch them; the animals disappear from the space and are collected in the guidebook in the same way. If you swipe a caught animal to a location visible in the app’s camera, it is released and appears at your feet. In the collection guidebook, even for the same animal, the more times you catch it, the more detailed information is added. “Galaxy & teamLab: Catching and Collecting Dinosaur Forest” (Harajuku, Tokyo) Exhibition details: https://www.teamlab.art/jp/e/collecting_dinosaurforest/ Artwork details: https://www.teamlab.art/jp/w/collecting_dinosaurforest/collecting_dinosaurforest/

In space, an ensō emerges, and the body passes through that ensō as a whole. This circle of light is a perfect, undistorted circle—a true circle. Even if you keep walking forward for several steps, the perfect circle continues. An ensō, one of the forms of calligraphy and painting in Zen, is a circle drawn with a single brushstroke; in ancient times, it was sometimes represented by tracing a circular ring in the air with a staff or similar object. It is said to symbolically express enlightenment, truth, the universe as a whole, and equality. It is also a circle that reflects the heart of the viewer, leaving interpretation to each person. “teamLab & TikTok, teamLab Reconnect: Art and Sauna” (Keyakizaka, Tokyo) Exhibition details: https://reconnect.teamlab.art/en Work details: https://www.teamlab.art/en/w/walkthrough_lightcircles/

A ensō appears in the space, and the body steps into that ensō. In the space, circles are drawn and swarms of butterflies fly about. When you touch a butterfly, it dies and falls. When you enter those circles or swarms of butterflies, an entirely different world unfolds inside. Ensō, one of the forms of calligraphy and painting in Zen—a circle drawn with a single brushstroke—was traditionally created by drawing a circular form in the air with a staff or similar object. It is said to symbolically express enlightenment and truth, the universe as a whole, and equality. It is also a circle that reflects the mind of the viewer, and its interpretation is left to the viewer. "teamLab & TikTok, teamLab Reconnect: Art and Sauna" (Keyakizaka-shita, Tokyo) Exhibition details: https://reconnect.teamlab.art/jp Work details: https://www.teamlab.art/jp/w/stepinto_lightcircles/

Description: When the sea rises with force and a wave is born, flowers bloom. Flowers bloom only for the brief moment while the wave returns to the sea. When the sea rises with force and a wave is born, one can feel a powerful breath of life, as if life itself were blossoming. Each wave even seems like a living thing. Yet when the wave breaks and disappears, you come to realize, with a sense of transience, that it was part of the sea. And that sea is connected to all the seas of the world, meaning that all the waves across the world are connected as well. Waves appear alive because life is like a wave rising with force. It is a miraculous phenomenon in which everything continuously emerges from one vast ocean, all seamlessly connected, without ever being broken. Work details: https://www.teamlab.art/jp/w/flowersbloom_waves/

Explanation: Flame is a phenomenon of light and heat produced by combustion; it is not a substance, but a sensory experience we have when observing the chemical reaction called combustion. People perceive flame, a sensory experience, as a single object, and sometimes even sense life within it. The motion of the molecules in a burning gas draws lines through space. Flame is depicted by the collection of those lines. Through teamLab’s concept of “Ultra Subjective Space,” that collection of lines is flattened into a plane, and flame is rendered. When people stand on the work, a black absolute presence is created, and the shape of the flame changes. The work continues to change forever, influenced by the behavior of the people. “teamLab Planets” (Toyosu, Tokyo) Exhibition details: https://planets.teamlab.art/tokyo/jp/ Work details: https://planets.teamlab.art/tokyo/jp/ew/universe_fireparticles_falling/

Along the Mōsō bamboo grove of Kairakuen, anonymous and diverse figures continue walking. People watch as they choose something and abandon something else, following along behind them. There is a Zen phrase, “hoho kore dōjō” — “every step is a training ground.” The characters in the work continue walking without end as they face various events. People, too, will confront them together by following the characters in the work as they walk. Or, they will confront each of the characters one after another as they come walking by. The work is continuously drawn in real time by a computer program. It is not playing back pre-recorded video. As a whole, it keeps changing forever without ever reproducing a previous state. The image of this very moment can never be seen again. “teamLab Kairakuen Garden of Light” (Mito, Ibaraki) Exhibition details: https://www.teamlab.art/jp/e/kairakuengarden/ Work details: https://www.teamlab.art/jp/w/walk_bambooforest/kairakuengarden/

Flowers, trees, and animals found in Singapore and the surrounding region are rendered as digital art. This large-scale installation space consists of a dome approximately 15 meters high, along with bridges and corridors suspended within it. The total distance traveled by visitors from the entrance to the exit exceeds 170 meters. On the bridge suspended in the 15-meter-high dome, Singapore’s flowers bloom and change continuously over time, as an infinite cosmic space unfolds. After crossing the bridge suspended in the dome, where Singapore’s flowers cascade down, visitors enter a spiral corridor running along the outer wall: a vast, interactive forest inhabited by Singapore’s flora and fauna. As one proceeds through the corridor, the world shifts from morning to evening to night, and the dry and rainy seasons arrive in accordance with Singapore’s actual seasons. In the dome space that follows the corridor, when visitors approach the wall and stop, the ground emerges, trees grow, a forest takes shape, and animals appear. The work is continuously generated in real time by computer program. The image seen in this moment can never be seen again. In addition, by launching the dedicated app “Story of the Forest,” information about the animals that randomly appear in the forest is sent to the user’s smartphone, allowing them to create a personalized animal encyclopedia. By connecting a forest in which visitors sharing the same space can experience the work together with the smartphones individuals carry, the project explores the coexistence of shared emotional experience and learning.

Original VR film project. Aims to establish storytelling using VFX expression in live-action VR. Scheduled for release in 2019. Teaser unveiled at the Intel × Adobe booth at interBEE 2016. http://urx.red/JJL0