teamLab: Everything Exists in Infinite Continuity | teamLab

Darkness is in front, and light exists in the depths.Substance and perception become ambiguous, and physical boundaries disappear.The sea gently ebbs and flows in the eternity of time.
The black of the lines that trace the waves is darkness — that is, a state without light. However, the lines drawn by the darkness, which are void of matter or light, appear in front of the shimmering light and continue to flow.
To recognize existence does not involve the presence of objects or light.Existence is born and shaped in relation to its surroundings.
Here, the waves are drawn through Ultrasubjective Space, and thus become a pictorial space that restores bodily freedom.
On the other hand, while the pictorial world is depicted on the screen, a strong shimmering light simultaneously covers that world. This shimmering light is caused by the light itself that depicts the world of waves reflecting on the surface of the screen.The shimmering light continues to change with the passage of time, even if the viewer does not move. Furthermore, in response to the environment and the moving body of the viewer, its appearance changes, and shines from the depths of the pictorial world. While appearing across the entire screen, the shimmering light is an extremely personal light, existing only within the viewer's own perception.
The space created by this shimmering light is not an illusion of depth depicted on a flat painting. It is a space that emerges at that moment through the movement of the viewer's body and the light that depicts the world of waves.The only physical material is copper. The pictorial space created by the group of shimmering points is generated within the relationship among the physical material, time, light, the environment, and the viewer's body, and emerges within the viewer's perception. While appearing on the screen, the pictorial space is continuous with the real space where the body exists, and expands into the depths of the pictorial space as a bodily space of light.
The bodily pictorial space drawn through Ultrasubjective Space and the bodily space of light created by the shimmering light overlap. There, the waves drawn by darkness, the copper surface, the shimmering light, the environment, and the viewer's body and perception interact with each other, and a boundless bodily pictorial world of light emerges, continuous with the space where the body exists.

A murmuration is not depicted by the contours of individual birds.
When birds fly, the surrounding environment, such as the air, also moves due to the flapping of their wings and the movement of their bodies. As long as birds live, they continuously dissipate energy into the world and keep moving the surrounding environment. This artwork does not depict the material surface boundary of the bird itself, but depicts the existence of the murmuration through the energy that the murmuration continues to give to the world and the resulting movement of the environment.
A murmuration is not an accumulation of individual birds, but a giant, organic phenomenon of collective flight. The birds rise up in the space like a single large entity, while mutually changing their distance, direction, and speed from each other. The contours of its existence are not the surface boundary of individual birds' bodies. It is something ambiguous that includes the bodies of the birds, the flow of air that is continuous with them, and the energy dissipated into the surroundings.
When viewers pass in front of the artwork, the viewers themselves also move the surrounding environment. This movement occurs in the same space as the space where the depicted murmuration is. The movement of the murmuration and the movement of the viewer blend together within the same flow of energy, and the lines that depict the murmuration are disrupted and change due to the movement of the viewer.
This painting is not an image for looking at the murmuration from the outside. It becomes a continuous field where the depicted murmuration and the viewer exist within the same environment. The murmuration is not a closed existence on the other side of the screen, but changes its appearance while blending with the environment moved by the viewer's body.
Objects like stones continue to exist even if placed in a closed box, sealed off from the outside world. But life cannot maintain its existence in such a closed box. Life consumes external matter and energy as food and discharges it, maintaining its structure as the energy dissipates.
Life is like a vortex created in the ocean, an existence within a flow, and the boundaries of its existence are ambiguous, an existence within an infinite continuity.
A murmuration is also an existence that emerges within a flow. Through the continuity of individual birds' bodies, the movement of air, the dissipated energy, the viewer's body, and the surrounding environment, a giant phenomenon of a murmuration is born.
To be alive is to constantly dissipate energy into the world and to be an open existence, continuous with the world.

무수한 빛의 구체들과 어둠의 구체들.
하나하나의 빛의 구체는 빛이 응고된 것처럼 공간상에서 뚜렷하게 지각할 수 있지만 물질적인 경계면이 없기에 신체는 이를 지각할 수 없다.
구체와 신체의 경계를 인식하는 것은 어렵고 애매모호하다.
가만히 보고 있으면 어둠이 응고된 듯한 청자색의 어둠의 구체도 나타나기 시작한다.

사람들이 빛의 구체를 만지려 하면 구체는 밝게 빛나고 주변의 구체도 차례로 공명하며 빛이 퍼져나간다.

작품은 그 자체로는 존재할 수 없으며 환경이 만들어내는 현상이 작품이 된다. 그리고 작품은 물리 공간에는 존재하지 않고 인식상에 존재한다.
존재란 무엇인가.

꽃이 끝없이 피고 지며, 탄생과 죽음을 영원히 거듭한다.

현실의 시간의 흐름에 따라 피어나는 꽃들이 계절에 맞춰 하루하루 모습을 바꾸어 간다. 작품 속 세상은, 설치된 장소에 해가 뜨면 밝아지고, 해가 지면 따라서 어두워진다.

감상자가 존재하는 현실의 시간, 도시의 시간, 꽃의 탄생과 죽음이 반복되는 시간, 각각의 다른 시간이 신체, 도시, 그리고 작품 세계에 이어져 교차하고 중첩된다. 작품 공간에 서로 다른 시공이 겹쳐진다.

작품은 컴퓨터 프로그램에 의해 실시간으로 그려져 간다. 사전에 기록된 영상을 재생하는 방식이 아니며 이전의 상태가 되풀이되는 경우도 없다. 사람들의 움직임의 영향을 받아들여 끝없이 변화해 간다. 지금 이 순간의 장면은 두 번 다시 볼 수 없다.

This painting comes into existence for the first time only at the moment when a person views the artwork. It exists as infinite possibilities of images until it is viewed, at which moment it is determined as a single image. The image continues to change with the passage of time, even if the viewer does not move. Furthermore, in response to the environment and the moving body of the viewer, its appearance changes each time, and shines from the depths of the pictorial world. While appearing across the entire screen, the image emerges as different each time within the perception of each viewer.
This pictorial space is not an illusion of depth depicted on a flat painting. It is a space that emerges at a moment through time, light, the environment, and the movement of the viewer's body. While appearing on the screen, the pictorial space is continuous with the real space where the body exists, and expands into the depths of the screen as a space of light.
The only physical material is copper. The image is generated within the relationship among the physical material, light, the environment, body, and perception, without the medium of video.
This artwork is an attempt to expand painting from a completed image, or an illusion of space depicted on a flat plane, into a pictorial space that is continuous with the real space and is generated from the relationship among time, light, the environment, the body, and perception. The image is a bodily space of light that emerges at each moment within perception.