KOU YAMAMOTO (@nouses_kou)
The following interview was conducted over text (translated) with Kou Yamamoto roughly 4 months ago. I'm not sure why I held onto it and never released it, but I recently fell into a set of saved images that reference highway LED boards. That really had me pondering on his reference to a quote from John Cage.
The Kyoto based artist Kou Yamamoto peels back the layers to his creative process in our interview, inviting us into his sandbox.
Kou's approach emphasizes trusting your inner voice, where nature, data, and the human form blur into one seamless piece. Even amid his meticulous explanations, his work leaves us pondering whether we are meant to fully comprehend it[…]
NS: Your work intertwines various disciplines. What's your approach in your recent series?
KY: Technically, I use TouchDesigner [1] to detect differences between frames in a video and use that data for video processing (glitch effects) and operating VST3 synthesizers. However, I would like to refrain from delving into these
deeply technical aspects as they relate to my own personal exploration. As an artist, what I focus on during the creation process is listening to and entrusting my inner voice. For example, on a sunny day off, when you step out of your house without a plan, your first step could be in any direction. This includes visual elements, sounds, temperature, yesterday's events, and current thoughts in your head. While cherishing these elements, it's similar to the natural step you take after a moment of pause, letting yourself pass through them. As our own heart is a part of nature, I borrow the words of John Cage [2], 'Art is imitating nature in her manner of operation.' I believe this is a small yet significant fluctuation and intention necessary for the universe, expressed through our being.
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NS: Your works' musical scores are seamlessly integrated with the visuals. Can you discuss your process for sound selection?
KY: I think it's like playing in a sandbox as a child. Becoming an adult has just changed the means. The way a newborn baby moves its limbs [3] to touch the air (the universe), the way we play in the sandbox at the park, or the way we play with Gundam models [4] alone in a dark room at dusk, I feel that nothing has fundamentally changed in terms of sensation. And I think I will continue this until I die. It feels like my mission as part of the universe from birth until death. When I think more deeply about the process, I believe it's all about the everyday.
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For example, recently, I was impressed by the intertwined scenery of orange sunlight and shadows of trees [5] on a dark path in the mountains in the evening. Sometimes, I patiently wait for a tiny bug found in my room to climb onto my hand to release it outside, being careful not to crush it. The way I adjust the strength in my body to save the bug and the feeling of being saved myself after helping it are indescribably important parts of the process.
NS: How has your environment influenced the themes of nature and technology in your work, and do you draw any connections between traditional Japanese aesthetics and your digital creations?
KY: Whether it's dance or digital creations, I believe my works inherently project my inner self. The reason I mainly describe my inner self in this interview is because of this. Therefore, while digital is a tool, I consider it to be in a cooperative relationship to project my inner self. For example, digital glitch [6] expressions include abstract representations, but I believe they reflect my inner self. Being Japanese and from Kyoto [7], conversing with nature in Kyoto, which is the source of Japanese aesthetics, is, for me, a way to express my own inner self. As a result, this process is not something I calculate but something that has naturally flowed for me. It's a paradoxical explanation, but if I were to put it into words, it would be like this.
NS: And the hauntingly ethereal music in your works, how do you select these sounds?
KY: The method of encapsulating this quality is simple: when I am in my natural state, I can perform the expressions I am meant to do. (Everything I have answered so far in the questions is related to this, at least for now:) The role for the viewer is to gain a new perspective. It doesn't have to be comfortable, although ideally, it would be both comfortable and enlightening. I believe that expressing oneself is an act of 'knowing oneself, knowing others, and understanding the world and the universe.' Personally, until I encountered this form of expression, I caused a lot of trouble for many people, especially my mother. My father passed away when I was four years old. I was arrested for a crime in my teens. However, from that point, I discovered dance and expression, became engrossed in it, and, through practice, came to know myself in the vast silence of the universe. These days are still very important to me, and I think they are everything. Of course, even now, there is learning and reflection every day. In these days, I also came to know others. There were various learnings regarding others as well. I understood how important others are. Now, I have reached a point where I think about how to make the world and the universe better. It's a long answer, but the role for the viewer is similar to how my life and view of the world changed drastically from the moment I saw someone's dance I didn't know until now. While there may not be a 'correct' thing, I sincerely hope that it can become a small but significant catalyst for someone to sprout and nurture a perspective and heart that always asks 'What is good? What is kindness and love?'
"WHAT IS GOOD? WHAT IS KINDNESS, AND LOVE?[...]"
NS: Are there particular technologies, methods, or philosophical concepts you are eager to explore to evolve your art, and how might these influence your future projects?
KY: In the future, I feel that my exploration of the body, music, and video will become more refined. In this refinement, what becomes apparent is the wonder of revealing the genetics I've inherited, the environment (Japan, Kyoto), and the will of the universe. I want to accept this fateful position and express and share greatly for myself, for others, and for the world and universe. Specifically, I plan to create real-time performance stage works that blend a modern version of Japanese bodily expression, Japanese technology usage, and an upgraded version of 'Mono ha' [8], which I respect, and tour the world with it. Also, the relationship with others. Initially, I thought it desirable for everyone to understand each other, but now I also want to understand things that can't be understood. So, I think it's about finding an exquisite distance. And the importance of friends who can understand each other is a significant part of creating my own universe. For example, I cherish how happy 'casual street dance practice' is. In summary, by creating works, whether in the real world or online, I hope to distribute good seeds to the world and the universe. Then, I hope for a perfect balance and harmony in the world and the universe, where no one has to be sad.
Instagram: @nouses_kou
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