Exhibition

I searched for algorithms whose names begin with each of the 26 letters from A to Z and used them to create kinetic typography driven by those algorithms. Since the emergence of NFTs, generative art as a genre has been re-evaluated. Although I have been creating works through coding for many years, I often find myself unsure how to answer the question, “What is generative art?” At the core of generative art lies the algorithm. While it is of course possible to create one’s own, many algorithmic masterpieces already exist. In this work, I reimplemented those algorithms in JavaScript. Through this process, I reflect on the appeal inherent in coding and algorithms themselves, independent of distinctions between art and design. By placing emphasis on process, something that tends to be overlooked in the age of AI, this project attempts to reconnect with the pleasure of implementation itself. https://kitasenjudesign.com/atoz/

I searched for algorithms whose names begin with each of the 26 letters from A to Z and used them to create kinetic typography driven by those algorithms. Since the emergence of NFTs, generative art as a genre has been re-evaluated. Although I have been creating works through coding for many years, I often find myself unsure how to answer the question, “What is generative art?” At the core of generative art lies the algorithm. While it is of course possible to create one’s own, many algorithmic masterpieces already exist. In this work, I reimplemented those algorithms in JavaScript. Through this process, I reflect on the appeal inherent in coding and algorithms themselves, independent of distinctions between art and design. By placing emphasis on process, something that tends to be overlooked in the age of AI, this project attempts to reconnect with the pleasure of implementation itself. https://kitasenjudesign.com/atoz/

A series of dynamic constructions using text characters including letters, numbers and various symbols. Resolution-independent, kinetic and continuously evolving. The system gradually destabilizes and recomposes its own geometries.

In multicolor woodblock printing, separate blocks are prepared for each color, which are then overprinted in sequence starting from the lightest tones. This work follows that process and is composed of a central piece and its derivatives, all generated through the decomposition and reconstruction of a landscape by color. The layering inherent in multicolor printing is understood here not merely as a technique, but as a structural model that suggests how the world itself is formed. Tokyo’s Shibuya, an urban space where multiple layers of time and culture continuously intersect, is likened to the three-dimensional structure of multicolor woodblock printing. Using this analogy as a conceptual foundation, the imagery is developed into an algorithmic system written in code. By embracing the accumulation of time, culture, and emotion, as well as the element of chance that emerges from their interaction, the work presents an alternative landscape shaped through this process.