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/

Description: Set against Wakayama’s profound history and magnificent natural scenery, this 30-minute audiovisual installation explores the theme of “mixing and binding” — the fusion of different religions and genres, as seen in shinbutsu-shūgō. It offers a visual and musical experience projected onto eight totems, each 4 meters high, evoking the towering ancient trees of Kishu, and reflects Wakayama’s “spirit of tolerance” found in places such as Koyasan, the Kumano Sanzan, and in the thought of Minakata Kumagusu. Drawing inspiration from the Kumano pilgrimage, the work portrays Wakayama’s character — its acceptance and coexistence beyond differences in religion, social status, nationality, and ideology — as a journey through future, past, present, and once again into the future. This journey is an experience of “rebirth,” a space where Japanese tradition and digital expression, the real and the virtual, the West and the East intersect, reflecting the spirit of shinbutsu-shūgō.
There, Minakata Kumagusu’s belief that “truth lies in between the two” comes alive. Drawing inspiration from the Kumano pilgrimage, the work portrays Wakayama’s character — its acceptance and coexistence beyond differences in religion, social status, nationality, and ideology — as a “journey of rebirth” through future, past, present, and once again into the future. Symbolic order of the Kumano pilgrimage and its blessings Kumano Hongu Taisha — Future Kumano Hayatama Taisha — Past Kumano Nachi Taisha — Present Kumano Hongu Taisha (Return) — Future / Rebirth The video installation is composed of these four parts. 01. FUTURE The opening moment where anticipation and spirituality intersect.
Through flickering light, pulses, and shifting colors, it depicts a world on the verge of creation. 02. PAST A journey into the origins of Wakayama.
Tracing the land’s deep memories through historical elements such as volcanic activity, nature, and mandala scrolls. 03. PRESENT A chapter that moves through the diverse landscapes that could be called the hundred views of Wakayama.
It captures the culture, daily life, and beauty alive in modern Wakayama. 04. FUTURE / RESURRECTION A dreamlike finale centered on the theme of “rebirth” leading into the future, using reverse-playback imagery.
As a symbol that transcends the boundaries of religion, gender, and nationality, totems appear and visually embody the “spirit of tolerance.” About the event movie The five great elements of esoteric Buddhism at Koyasan — fire, water, wind, void, and earth — are translated into visual expression,
making visible the flow by which they merge to form the universe.
It conveys the spiritual depth of Wakayama in a visual and sensory way. What does “Mixing, Binding.” mean? The word “musu,” found in Takamimusubi-no-Kami and Kamimusubi-no-Kami, two of the three creator deities in Japanese mythology,
means “to give birth” or “to produce,” and represents the power to generate new life and relationships.
As seen in words such as musuko and musume,
“musu” has long been a core concept in Japanese, meaning “generation” and “bonding.” Shimenawa and shide, seen at shrines and sacred sites, are symbols of “binding” that sanctify space and invite the gods. We chose this “musu (Musubu)” as the theme of this work because it is a word that symbolizes the spirit of Wakayama, which has passed down Japan’s oldest culture to the present day.

I was responsible for the overall direction of the special exhibition “I LOVE MAX MARA” for the Italian fashion brand Max Mara. The I LOVE MAX MARA exhibition was held from October 26 to November 10, 2018, at Hankyu Umeda Hall in Osaka. The aim was to blend extensive archival materials telling the story of the brand’s history and meticulous craftsmanship with digital content. As the highlight of the event, we created a 5-meter-tall “teddy bear coat” using 3D scanning. When visitors selected a coat color, an animation inspired by that color was projected in 360° onto the giant coat via projection mapping. We also planned and developed a variety of other experiences, including a fashion show utilizing that installation and a digital installation in another area where visitors could create their own maxmaragram using their name.