world; one is in the other and the other in one. Everything exists in a long, fragile yet miraculous, borderless continuity of life. Why did your company enter this particular niche and what most excites you about the intersection between technology and art? TL: Digital technology has allowed art to liberate itself from the physical and transcend boundaries, leading the way for unlimited possibilities of expression and transformation. It also allows us to take a scientific approach to explore the logical constructs of ancient Japanese spatial theory. We experiment with new visual experiences to challenge contemporary human perceptions of the world and aim to change people’s values and contribute to societal progress. Initially, we had no idea where we could exhibit or how we could support the team financially, but we firmly believed in the power of digital technology and creativity. We wanted to keep creating new things regardless of genre limitations, and we did. The relationship between technology and art is long-standing and significant, from the invention of photography to Andy Warhol’s use of silk screen printing. What doors did the ‘Digital Revolution’ open with regards to this relationship? TL: The digital medium will bring art into 64
Top: The [Weightless Forest of Resonating Life] at teamLab Borderless. The museum’s Future Park encourages kids to interact with the artwork and one another. Right: The [Forest of Resonating Lamps] at teamLab Borderless. teamLab Exhibition view of MORI Building DIGITAL ART MUSEUM: teamLab Borderless, 2018, Odaiba, Tokyo © teamLab
a new era. You could say that digital art is the future, but you could also say that digital art is already here. We would like to see new ways for art to exist, not just with artworks, but space, viewers, and the market. Digital art is not just about ‘existence,’ it’s also about making an ‘experience’ into art. Our exhibitions make visitors and their individual experiences an integral part of the interactive artworks.
In the art world, the application of digital
technology is considered ‘new medium art’ and manifests in robotics, virtual reality, and 3D printing, to name a few. What does ‘new medium’ mean to you? TL: Technology is not the essence of our work, as it’s just a tool. We don’t see our work as a ‘new medium’ because we derive much of our inspiration from pre-modern Japanese art. Unlike Western Renaissance art, which was drawn with a specific subject and a vanishing point in the distance, ancient Asian picture scrolls are generally
described as ‘flat’ compared to the perspective or depth seen in Western paintings. When you are looking at the world as depicted in from a Western perspective, it appears to be distinct from your reality. The behavior of our Japanese forebears towards nature was not merely one of observation. Rather, they fully entered the world which they were observing, and easily understood how they were a part of it. We hope to explore that immersion when creating our art. We use digital technology to build a world of 3D objects in a 3D space, and then we explore the logical structure of that space in a way that makes it appear flat, as seen in traditional Japanese art. We have termed this structure ‘ultra-subjective space.’ By using ‘ultra-subjective space’ in