An attempt to reconstruct the onset of sound and the way it is perceived across different frequencies as the principles of motion in motion graphics. Based on the concept of the impulse response of the auditory system known as the ear, it explores a state in which music and image mutually interfere with each other.

Under the direction of Hideyuki Ishii, I participated as an Animation Director / 2D Animator alongside 3D Animator Ryu Nishiyama. The 2D animation and effect animation sections were drawn on drawing paper using colored pencils, markers, crayons, and other materials, then photographed and assembled into the final work. The result has a warm, approachable texture reminiscent of the 90s.

Themeing on the contemporary sense of being “enhanced,” this video work interweaves glamour and Latin passion. By layering fabric textures and paint-like animation in multiple dimensions, and using tracking to seamlessly blend live action with 3DCG, it creates a sense of buoyancy in which the real and virtual seem to breathe within the same space. Inspired by the lyrical world, where even heartbreak is “embellished” and turned into a joke, the concept of “enhancing” is reimagined as a positive energy that illuminates the idol’s very presence, beyond the framework of lookism. This dance music video combines sensuality and strength, presenting self-confidence that radiates from within and provocative expressions carried by the rhythm of the dance.

“Feel free to do anything as long as it’s not obscene.” With that request, I made sure the world of the music and the poem, its mood, and its forms would become as strange and disjointed as possible. The references I drew on were works that feel feverish and nightmarish to watch, such as Stephen King’s The Devil Truck, Sam Peckinpah’s Convoy, and Ken Russell’s Gothic. Above all, I wanted to express the absurdity of a gigantic thing racing at full speed, and the image of something that crosses some kind of limit or is mixed together until it turns into an uncanny form. If you trace the history of Gothic, from the Christian view of life and death to the monsters like gargoyles placed on church Gothic architecture, there is a sense of life and death repeating like summer and winter. I am always drawn to the coexistence of ambivalent things. The zombie in the passenger seat is always embodying the ambivalent state of life and death. Though dead, he wears a T-shirt that says “flesh and blood,” or gets an IV drip, as if he refuses to accept death. The method is my usual collage, but it is difficult to create something without straying from the world I have set up. The shape of the truck, on which I put special emphasis, also has to maintain a certain level of consistency from the front, the diagonal, and the side in order to connect properly. A lack of consistency is in a sense an inherent quality of collage, but this nauseating lack of balance was the most exciting and enjoyable part of my recent work.