teamLab: Between Art and Physical Space | teamLab

All oceans are connected to each other, and so are all the waves in this world.

In classical East Asian art, waves are often expressed using a combination of lines. These waves created by lines allow us to realize that each wave is one part of a larger flow, and conveys life as though the waves are a living entity.

When the waves rise, we can feel a powerful breath of life, as though life is blooming. It feels as though each wave has a life of its own. But when the waves collapse and disappear, we realize, with a sense of fragility, that they were a part of the ocean. And that ocean is connected to all of the other oceans. In other words, all of the waves in the world are connected to each other.
The waves seem alive because life is like a rising wave. It is a miraculous phenomenon that continuously emerges from a single, continuous ocean.

The waves are expressed through a continuous body of countless water particles. The interactions of particles are calculated, and then the movement of water is simulated in three-dimensional space. Lines are created along the trajectories of the water particles, and drawn on the surface layer of the three-dimensional waves.

The lines are created with what teamLab refers to as Ultrasubjective Space. In contrast to space that is created through, or cut out by, lenses and perspective, Ultrasubjective Space does not fix the viewer’s viewpoint and in turn frees the body. The wall that the waves are seen on does not become a boundary between the viewer and the artwork, and the artwork space is continuous with the space of the viewer’s body.

Universe of Water Particles is a virtual waterfall created in a virtual 3-D space using teamLab’s concept of ultrasubjective space, a term that refers to the depiction of space found in premodern Japanese painting.

Computer-generated water consisting of hundreds of thousands of water particles is virtually poured onto a virtually sculpted rock. The computer calculates the movement of the particles to produce a simulation of water that flows in accordance with the laws of physics. Lines are drawn in relation to a selection of 0.1% of the particles. The sinuousness of the lines depends on the overall interaction of the water particles.

In premodern Japanese painting, oceans, rivers, and other bodies of water were expressed using a series of lines. These lines give the impression of movement and life, as though water was a living entity. This form of expression leads us to explore why premodern people sensed life in rivers and oceans. Universe of Water Particles fuses the objective world of today’s knowledge with the subjective world of premodern people.

When viewing this artwork, regardless of the fact that the waterfall is a reproduction of physical phenomena, it can be possible to feel a sense of life in the collection of lines.

If, when viewing this artwork—as opposed to a video of a waterfall shot with a video camera—people feel the barrier between themselves and the waterfall dissolve, they become immersed in the work as if the waterfall is luring them in. Perhaps we can find a connection to the way premodern Japanese people perceived the world and consequently behaved towards it.

If we regard ourselves as part of nature, and consider nature as something not just to be observed, it is possible to feel that there is no boundary between ourselves and nature.

A calligraphic series of brush strokes modeled in virtual 3-D space forms the character 生 (Japanese/Chinese for life) which transforms into a tree. As time passes, various life forms begin to grow from within the tree.
 
This artwork was created by peeling away the surface of the artwork Life Survives by the Power of Life, 2011.
 
In computer graphics, and similarly in this digital work, wireframe models created with high levels of data are rendered as 3-D objects. When the surfaces of these computer-generated images are peeled away, their underlying mesh-like structures are revealed. Expressed by the intricacy of this work, teamLab exemplifies 3-D rendering in its stripped-down state while maintaining a highly complex and elaborate construction.

Nature brings us both blessings and disaster, and with the progress of civilization there are benefits and negative implications; nature and civilization are always connected. There is no absolute evil or true beauty. There is no easy way to understand, no simple way to arrange our feelings and our sensitivities. We must face every situation as it comes, to not despair, to face forward, and to go on with life.

teamLab has been working on the Spatial Calligraphy series since the collective formed. Spatial Calligraphy offers a contemporary interpretation of traditional Japanese sho (calligraphy) in an abstract space. It reconstructs Japanese sho in three-dimensional space and expresses the depth, speed, and power of the brushstroke. Butterflies, birds, animals, plants, and flowers appear from the calligraphy expressing the passing of the seasons. According to Zen Buddhist writing, “In all living things Buddha nature dwells.” All things are impermanent and the natural appearance of things is the Buddha nature. What we put into shape is that which we, the living, think is the heart of life.