100 Years Sea Animation Diorama
teamLab, 2009, Digital Installation, 10min 00sec, Sound: Hideaki Takahashi
100 Years Sea Animation Diorama
teamLab, 2009, Digital Installation, 10min 00sec, Sound: Hideaki Takahashi
This installation is a 10 minute condensed version of the artwork 100 Years Sea. The installation gives viewers the feeling that there is no border between the animated world and the real world, and the rising sea that eventually swallows them.
Historically Japanese artists painted and expressed waves using a combination of lines. These assembled lines give the impression of the life and energy of the sea as one living creature. Looking at the sea we feel awe, and it is probably due to this awe that Japanese artists chose to express the sea as a living entity. Japanese ancestors possibly saw the world as it is depicted in classic Japanese pictures.
Based on this idea, teamLab considered recombining the subjective view of ancient times with the fixed objective view of the modern world. The waves were created in a virtual 3-D space and then the space is converted into what teamLab calls, Ultra Subjective Space. In doing so, instead of viewing the work objectively, we may be able to discover a new form of expression in which viewers feel there is no border between the world of the movie and the world in which they exist. As a result the viewers may be able to feel the movie more physically.
Historically Japanese artists painted and expressed waves using a combination of lines. These assembled lines give the impression of the life and energy of the sea as one living creature. Looking at the sea we feel awe, and it is probably due to this awe that Japanese artists chose to express the sea as a living entity. Japanese ancestors possibly saw the world as it is depicted in classic Japanese pictures.
Based on this idea, teamLab considered recombining the subjective view of ancient times with the fixed objective view of the modern world. The waves were created in a virtual 3-D space and then the space is converted into what teamLab calls, Ultra Subjective Space. In doing so, instead of viewing the work objectively, we may be able to discover a new form of expression in which viewers feel there is no border between the world of the movie and the world in which they exist. As a result the viewers may be able to feel the movie more physically.