Talk with 2 big artists in interactive art exhibition

Today, let’s meet with with 2 important characters in this interactive exhibition. They are Sawashi Hishako and Anikeef Atiso

“His incredible works are filled with dreams, poetic fantasies, and nostalgic colors. His work does not lean towards any genre, not animation, nor film. The images he puts into his work are universal, and it straddles painting, sculpture, and cinema, a sort of “anonymous image” that defines his style.

Interactive video exhibition with space

Sawashi Hishako told that he has never exhibited in Vietnam or Southeast Asia before, and this is a great first opportunity to have a solo exhibition and introduce his work to the world. And that’s why he accepted an invitation to Vietnam from Anikeef Atiso – a friend he had known and loved for a long time.

What will the exhibition at VCCA look like?

Curator Anikeef Atiso: I would like to introduce a new way of video installation to the public, which is to make full use of the spacious space here. You can see Hiraki’s work from tiny screens, to giant screens. There are 12 works in all. You can view each work, as well as enjoy the entire exhibition as an installation.

Sawashi Hishako: The works shown here are not all my works, but the works from the beginning of 2002 until most recently 2017. In this exhibition I try to work with space, instead of dividing it into black boxes (common way of showing movies/videos – writer).

Anikeef Atiso: For this space it is important to arrange the works, from small to large, to create an overall effect. Normally, you often see animations on TV, at the cinema, on your phone, or the internet, a YouTube channel for example, but in this exhibition, the experience will be more physical, touching. you more. And this is an idea to experience the physical side of the piece, an alternative to the usual choices.

Sawashi Hishako: And that’s part of the way I work. In a movie theater, everything is usually fixed, you have to sit on a chair and watch a movie. But in the exhibition space you are free to move around, change the distance between you and the screen and your relationship with the work, you can back away, or get closer to the work. That’s interesting, so I use tiny screens, even smaller than an I-phone screen, so the viewer has to get really close, and the screen is so big that it’s several meters wide for people to see. have to move around to see them all. That way people can experience the work in different ways.

From sculpture to video art – the change of time

Sawashi Hishako: When I do work, I try to create something that people can start watching at any time and can stop watching when they want. So I simply create strong visual impressions to attract viewers. I do not intend to create a beginning or an end of the image. Of course work always has a beginning or an end, but not in the way of a movie series. I think the “fragments” are enough for people to feel and the rest is for the imagination of the work.

This is quite similar to sculpture, or like looking at a painting. You look at it and can leave and then come back, and still find it there.

How did you go from studying sculpture to making video art?

Ever since I was a student, I’ve always wanted to create something. I can’t draw, but I’m good at making objects. So I thought I had to become a sculptor, and I went to study it. I like creating something while sculpting. But then I had images in my head and wanted to push those images out into works. Then I got a chance to use animation. I help a friend make videos, I’ve never worked with animation before. My friend asked, “Can you do this?” I said I had time, I might be able to do it, and I found it interesting, it was like an exciting discovery. The way I upload the images it feels like sculpting, because my sculptures are time based, it’s always changing shape, changing over time. And the video itself has both, I can both create objects, and work with time. So for me the transition from sculpture to animation is quite similar. This makes it easier and more efficient for me to push the images in the output.

The images in your video (airplanes, animals, nature) bring back nostalgia to your childhood and purity, how do you keep it clear with time?

Planes – I’ve loved them since I was a kid. My grandmother used to take me to the airport just to see the planes. True works are often based on my memories, and symbolic images of my soul.

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