From An Idea To Sensation
Audiovisual artist Ryoichi Kurokawa on the interaction between images and sounds.
Ryoichi Kurokawa is an audiovisual artist based in Berlin, whose work expands through different formats such as installation, projections, recordings and live performances. The interaction’s complexity between images and sounds is dominant in his artwork. The design of temporary sculptures composed of digitally generated elements and field recordings is a common thread, where the uncomplicated and multiplex coexist.
Everyone who has followed Kurokawa’s work for some time could tell that he is a devoted artist with a wealth of experience in different genres, as well as a distinctive creative flair. With his computer, he creates his own audiovisual language where he seeks to reduce the distance between the visual and the sound, with the synchronized progression of both elements. The works of the Japanese artist have been exhibited across the world at international festivals and institutions including TATE Modern, MUTEK, Espace Culturel Louis Vuitton and The Centre Pompidou.
Karen: Do you think that growing up in Japan has directly influenced your hearing and sound sensitivities? In what ways has living in Berlin changed or evolved these qualities in you?
Ryoichi: Rather than the sense by the character of the locality, I have been influenced by Japanese culture; however, I don’t intend to incorporate it consciously into my artworks. The reason to live in Berlin is a more practical basis, and it doesn't really affect my creation.
K: How did your interest in this visual and recording language start?
R: Design field and industrial/architecture/graphics influenced me in the first place. I think design was one of the triggers to have an interest in visual expression and is what led me to make artworks. I don’t have a background in studying art, music or design; I started making artworks in the late 90s when I was a student, and it was just for pleasure and to share outputs with my friends.
K: How would you explain to someone new into the digital art world what an audiovisual performance is?
R: It is a concert piece where the audience experiences integrated visual and audio elements at a theater or club.
K: In an interview with Digicult, you mentioned that you “treat physical law on the same level as treating nature itself.” How do you curate and interpret the sound of natural phenomena in your works?
R: For instance, with installation "ad/ab Atom" in 2017, I exported multidimensional data from the code for the calculation of electronic properties which a quantum physicist provided me. Data was mapped into arrays to control parameters to generate, filter and control sound. It was not a scientific purpose but an artistic rendering that was basically scientifically idle. The output was not straightforward sonification like the Geiger counter.
K: What technological advances or events have encouraged your scientific research?
R: Technology extends not only the creation but also the perception of art; it provides many possibilities in the art field. Technology is playing a very important role in my works, but I’m considering them as tools for my art pieces. I’m always trying to avoid just demonstrating technology and I’m trying to prevent producing superficial work which just gives an impact by the use of technology.
K: Do you think it’s possible to give tangible properties to music? If so, how do you do it?
R: Sound can be directly translated into a tangible medium. In an audiovisual installation "unfold" in 2016, a vibration floor with transducers was introduced. This piece is about the process of stellar formation which we can’t sense is translated into human scale audible/visible/tangible phenomena.
K: How much does your creative process change when working on your solo recordings versus designing immersive experiences?
R: Immersive artworks have more creation procedures relative to simple compositions, especially creative processes on space design, such as 3D modeling of installations, the layout of a technical setup, system development and simulation.
K: What fears and boundaries can show up when playing live?
R: The biggest concern is technical problems happening during the show. Most of the time, I can handle it while playing, but very rarely I have gone out of control. During the show, I'm trying to conduct the most optimized audiovisual environment according to the venue.
Photo Courtesy: Artist’s Instagram @ryoichikurokawa
K: What’s your opinion on NFTs? Do you see yourself being part of the concept of metaverse?
R: Blockchain technology and its further deployment as the implementation of blockchain is very intriguing, though we still need to solve its common issues. I don't know if I’ll be a part of it but an NFT must be furthermore toward the metaverse and collectibles rather than art.
K: What type of reaction do you expect from the public when unveiling a new artwork?
R: It would be great if they awake or find substance through phenomena that I create. However, I don’t give any guidelines to the viewers on my works; I like colorful feedback. Different thoughts, especially what I don’t expect, is very interesting for me.