Changes Cycles and Shapes Hana Noʻeau Kikohoʻe na Yuko Suzuki

ʻO Changes Cycles and Shapes Hana Noʻeau Kikohoʻe na Yuko Suzuki he mea lanakila hanohano loa o ka 2025 A' Design Award Gula ma ka Māhele Hoʻokūkū Hoʻolālā Hoʻohua, ʻAlakaiʻo, Hōʻailona a me AI Kōkua.

GulaHoʻohua· 2025

Changes Cycles and Shapes Hana Noʻeau Kikohoʻe

na Yuko Suzuki

Mea Kūʻai: Feral File

Mea Lanakila A' Design Award Gula ma ka Māhele Hoʻohua

210,079

Mea Lanakila i Hōʻoia ʻIa

Hōʻoia i ke Kūlana Makana no #170864

Kipa i ka Pūnaewele Nānā ma A' Design Award Hoʻolaha Nūhou Hōʻailona Makana

Nā Waihoʻoluʻu

Ka Hoʻolālā

E Pili Ana iā Changes Cycles and Shapes Hana Noʻeau Kikohoʻe

Hoʻomaʻamaʻa kēia hana i ka nīnau, He aha ka pena? ma ka hoʻike ʻana i ke kaʻāpuni o nā wehewehe ike maka. Hoʻoulu ʻia e nā loli ma nā pena a Mondrian, hoʻokumu ʻia ma ka papa kiʻi māhele o ka pena, kahi e neʻe ai ka ʻānoʻano ma waena o ka hiʻohiʻona a me ka kuʻikahi ʻole, a ma waena o ka haunaele a me ka laina pololei - he manaʻo i hoʻohana ʻia i ka waihoʻoluʻu. Hoʻāla ka hana i ke ʻano loli o ka kino kikohoʻe, e kōkua ana he mea koʻikoʻi nā ʻano ma waena o nā loli. Ma ka hoʻokomo ʻana i nā ʻili i paʻi ʻia me ka baren, hoʻike ia i ke ʻano o ka mea hana noʻeau ma ke ʻano mea paʻi kiʻi ma ka hana kikohoʻe.

Ka Hoʻomaikai

E Pili Ana i ka A' Design Award Gula

Ua lanakila ka hoʻolālā Changes Cycles and Shapes Hana Noʻeau Kikohoʻe i ka A' Design Award Gula, he ʻike hoʻohanohano nui loa i hāʻawi ʻia i nā hoʻolālā pae mua, kupaianaha a kūʻokoʻa. He mau hana hou loa, ʻike maka a nani hoʻolaʻa nā lanakila Gula e hōʻike ana i ka ʻuhane akamai, ka naʻauao a me ka mākau o kā lākou poʻe hoʻolālā. Manaʻo ʻia ʻo ka hoʻolālā Changes Cycles and Shapes Hana Noʻeau Kikohoʻe he mea hoʻokumu i hoʻomaikaʻi nui ʻia, e hoʻokumu ana i nā ʻano hou, he nui, e hāʻawi ana i ka waiwai ʻaʻole i ʻike ʻia ma mua. ʻO kēia hoʻolālā i lanakila i ka A' Design Award Gula he papahana kupaianaha, mahalo ʻia e hāʻawi i ka pōmaikaʻi nui a hoʻoneʻe i nā palena o ka hana noʻeau, ka ʻepekema, ka hoʻolālā a me ka ʻenehana. Hoʻāla ka hoʻolālā Changes Cycles and Shapes Hana Noʻeau Kikohoʻe i nā manaʻo makemake ikaika, hoʻāla i ka ʻiʻini, hoʻoulu i ka hana noʻeau a hoʻopūliki iā mākou.

Ma Hope o ka Hoʻolālā

ʻEke Nūhou

Nā hōʻoia, nā lālā hui a me nā kikoʻī ʻenehana i hāʻawi ʻia e ka mea hoʻolālā.

Nā ʻAno Kūʻokoʻa: Based on the question, What is painting?, this work expresses the circulation of multiple visual expressions, evoking the shifting state of digital materiality, oscillating between the concrete and the abstract. In it, it also expresses the idea that forms in between changes are the essence, and we live in a moment in change.
Furthermore, by incorporating textures printed with a baren, the artist's identity as a printmaker is incorporated in a digital form.
Nā Ana a me ka Hoʻopili: 1920×1080 px / 3840×2160 px, 25 seconds, 65 works
Nā Lepili: Generative Art, Coding
ʻEnehana Hana: This work was created entirely in a programming language called Processing.
It is made up of animations that change from one shape to the next.
Pilikia Hoʻolālā: The theme of the exhibition was the inheritance of the experimental aesthetics of Hiroshi Kawano, a pioneer of Japanese computer art, so I researched Hiroshi Kawano and the history of past computer art.
I had repeated conversations with this great artist of the past to find out how to connect Kawano's work with my own experiments, and it took me a long time to dig deep into my theme and digest it.
Noiʻi: This design study aims to explore how print textures can be incorporated into paintings. The researcher delved into the historical background of Hiroshi Kawano and Mondrian to explore how their style and techniques can be reflected in his own work. In terms of methodology, he took an experimental approach and researched the archives of past painters to evolve the expression of his work by combining different materials and textures.
As a result, the work is a reflection of the history of painting, and the influences of Hiroshi Kawano and Mondrian are beautifully integrated. This study proposed a new way of expression that goes beyond the boundaries of print and painting, and offered a new perspective on contemporary art. In terms of business, it made us reconsider the commercial value of art and its potential as design, and in terms of society, it allowed us to delve deeper into the historical and cultural meaning of art.
Hoʻoulu Manaʻo: In painting, shape has an axis of figurative - abstract and an axis of noise - linear, while color also has an axis of noise - linear. Based on the component diagram of painting constructed from this idea, I developed a means of cycling through multiple visual idioms at once, with the work expressing the cycle itself. This work was also inspired by the transitions in Mondrian's paintings.
Ka Lōʻihi o ka Papahana: This work was exhibited at Patterns of Flow held at NEORT++ in Tokyo from September 24th to October 6th, 2024.
This exhibition was a collaboration with Right Click Save and Massage Magazine, and the works were sold on Feral File, an NFT platform.
Kaʻina Hana: In this animation, objects transform over time, oscillating between figurative and abstract, noise and linear. Designed to create a continuous flow of visual changes, the animation's timing and speed are adjusted to create a visually pleasing rhythm. By silently observing these changes, viewers can relate to their own lives and experiences, evoking deep empathy and emotional responses.
Nā Kuleana Kiʻi: Image #3: NEORT++, Changes, Cycles, and Shapes in Between, 2024.