I recently came across a series of exhibitions known as Light and Shadow Mobiles installation—“Air and Songs” & “Sea and Songs”created by Kosei Komatsu, a Japanese artist who explores the sensation of surprise and discoveries stemming from materials that are ubiquitous, such as light, water, cloth, and marbles. In his group works, his private works explore the theme of the evolution of birds and their beauty. After going independent in 2014, he founded Kosei Komatsu Studio. His fascination with "levitation" has inspired him to produce artwork with "birds" and "feathers" as central subjects, using the terms "movement," "lightness," and "light."
“RAIN SONG” INSTALLATION, 2024
His work originally
caught my eye on Instagram. The video showcased the “Rain Song exhibit.” It
demonstrated how the installation works, which consists of discs bursting from
the center, hanging on threads, and revolving to create the illusion of falling
water droplets while reflecting natural light in a dynamic and playful manner.
The idea behind it was to investigate the different stimulation that a single
drop of rain may do to a person's surroundings as well as their physical and
emotional well-being. But when I first saw the reel, I could appreciate the
concept, sentiment, and humor behind it, despite not knowing the artist or the
concept he used. I personally enjoy rains and can attribute this to the
sensation of enjoyment that I get when I see them. I may not question how the
rain sounds or feels, but I am certainly mesmerized by them. I could stare at
that installation indefinitely; it was like experiencing rain whenever I
wanted, while the video clip of actual rain on YouTube appeared unnatural in
front of it.
Curious and eager to learn more, I continued to browse through more of his installations. I came across his website and discovered a number of installations and exhibitions with themes that were similar yet entirely different. Some of his works, as I feel I perceive, are to show the herd mentality: a flock of birds, a school of fish, groves, foliage, or a tuft of feathers.
“SEA MOBILES”
INSTALLATION, 2024
The portrayal of herd
mentality is an ode to the magnificent structures made by groups of varied
species that work together in harmony to produce unique combinations and
dynamics. A group's attractiveness is frequently stronger than that of an
individual, and yet some objects are supposed to be appreciated alone. Even
though the larger image may appear to depict something different, the little
details are still meaningful. In the works described above, the material
utilized for each individual member element is either glass, mirror, or film
material, which has been employed in highly inventive ways.
While attentively
inspecting the “Sea Mobiles” exhibit, one may notice that there are various
fish modules repeated throughout, each with its own character that stands out
even in a throng; the process of achieving such distinctiveness is quite
noteworthy. The illusion of movement that each component is providing is
another thing to watch out for. Although they may all have an identical design,
the composition’s meticulously articulated, free-flowing character and
suspended nature cause the mind to immediately perceive movement. The success
of these installations can be attributed to a number of factors, including the
freedom of movement for each participant and the sculpture's ability to come to
life. Komatsu’s ability to create such
intricate, emotionally resonant works out of simple materials is truly
commendable.
I can probably imagine how the artist’s mind would work; many of his objects of interest are often something that makes people either amazed or elated and are usually small things or small joys of life. Raindrops, jellyfish, dandelions, and feathers, to name a few, each of these objects share a common thread: they are fleeting, delicate, and evoke a sense of serenity and marvel. The installations pay an ode to the fact that these objects evoke strong emotions despite their size or simplicity. This obsession with the minutiae of existence indicates an artist who places a high value on the fleeting, fragile, and sometimes overlooked moments of quiet bliss. These items act as gentle reminders to stop, look, and appreciate the small, fascinating features of our surroundings.
“DREAM OF FOREST”
INSTALLATION, 2024
Using white as the main
hue, the artist's sculpture produces an almost weightless, ethereal woodland
scene with fragile branches and canopy. Despite their sparseness, the black
pieces provide a striking contrast by acting as three-dimensional shadows.
These shadows don’t just add depth; they seem to complete the visual dialogue
between light and dark, highlighting the interplay of form and void.
Interestingly, the white backdrop serves as a metaphor for how we often
perceive nature. When standing beneath a tree, or even while we are sitting
inside our homes, what we often notice are the shadows cast by the leaves, a mosaic of light filtered through the foliage.
By using white, the artist removes the literal colors of nature, allowing the viewer to focus on the purity of light and shadow, a perspective that is often subconscious in our daily experience of nature. Similar to how shadows give form to the unseen contours of the natural world, the black pieces serve as anchors, bringing the ethereal white to a tangible surface. What I particularly like about this setting, where the installations are suspended and cornered, is that it offers a space for quiet contemplation, where one can pause and appreciate the small, often overlooked details that make life so rich and complex. This combination prompts us to question how we identify with nature, which is frequently defined by the subtle patterns of light and dark that create our visual experiences rather than its vibrant hues.
Incorporating bird feathers into these designs taps into a core human experience: our fascination with feathers in nature. Many people naturally pick up feathers, admiring their lightness and texture. Feathers have a whimsical quality to them; they drift through the air, drawing attention to the organic movement that contrasts with their static display in the arrangement. The usage of feathers instead of flowers, or having them "look" like flowers, essentially taps into our childish bond. It is a simple act of discovery, turned into something larger.
In order to create a calm and nostalgic atmosphere, Komatsu skillfully combines scenery, whether it be projected or real-world environments, with his sculptures. His installations, "Rain Song" in particular, take me to a place where I can feel the soothing power of rain without really being in it. His ability to turn commonplace natural components into visually striking yet strange works of art is demonstrated by this alone. His works provide a much-needed break from the stress of daily life, allowing me to reconnect with nature in a way that feels immersive yet meditative. I find Komatsu's technique to be quite perceptive when it comes to subtleties in light and movement. Through his artistic expression, he immortalizes transient moments, be it the shimmering of water drops or the fluffing of feathers.
I've found some fascinating parallels between Kosei Komatsu's art and his Japanese cultural upbringing. His focus on droplets, feathers, and the subtle interaction of light and shadow appears to be a nod to the Japanese aesthetic of “mono no aware,” which honors the transient beauty of the natural world. The idea of impermanence and beauty is strongly related to how Komatsu depicts fleeting moments in his artwork.
His method also reminds me of Zen Buddhism, especially in the way his
creations are lighthearted and simple. His installations' calm, minimalistic
style is in line with Zen's emphasis on creating meditative, peaceful
environments. The ethereal quality of Komatsu's sculptures and his interest
in "levitation" seem to reflect the Zen value of the sublime and intangible.
In addition, his work makes me think of wabi-sabi and Japanese garden design.
His art's restrained and tasteful incorporation of natural elements seems to
have in mind the tranquillity and equilibrium of traditional Japanese gardens.
His installations' use of shadow and light also evokes the ukiyo-e heritage,
portraying the beauty of the "floating world."
My admiration of Komatsu's artwork is strengthened by these cultural analogies, which point to a deeper affinity with Japanese philosophy and art's recurring themes of nature, impermanence, and peace. As I continue to explore the works of Kosei Komatsu, I find my senses and emotions increasingly heightened with each encounter. His ability to evoke joy and wonder is something I truly admire, particularly through his delicate and purposeful use of materials like feathers, light, and water. What captivates me most is not just the visual appeal of his sculptures and installations but the emotional landscape they create. Each piece is like stepping into a space where time slows down, allowing for reflection and tranquillity.
Image credits and source: http://kosei-komatsu.com/
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