macoto murayama: inorganic flora
frantic gallery, tokyo, japan
december 9th - 11th, 2011
southern star, pureblue i' (2011), part of macoto murayama's 'inorganic flora' collection on exhibition at tokyo's frantic gallery
digital C-print
5.8x6.1cm
digital C-print
5.8x6.1cm
op row (left to right): 'rose iii', 'sweet pea v', 'sweet pea iv', 'transvaal daisy ii'
bottom row (left to right): 'satsuki azalea', 'transvaal daisy v', 'transvaal daisy iv', 'sweet pea iii'
bottom row (left to right): 'satsuki azalea', 'transvaal daisy v', 'transvaal daisy iv', 'sweet pea iii'
top row - 'rose' series, from left to right: 'rose ii', 'rose iii', 'rose iv', 'rose v'
bottom row (left to right): 'sunflower iv', 'sunflower v', 'spider lily iii', 'yoshino cherry ii'
bottom row (left to right): 'sunflower iv', 'sunflower v', 'spider lily iii', 'yoshino cherry ii'
'commelina communis L., front view' (2011)
digital C-print framed in plexiglass
100x100cm, edition of 3
digital C-print framed in plexiglass
100x100cm, edition of 3
'commelina communis L., side view' (2011)
digital C-print framed in plexiglass
100x100cm, edition of 3
digital C-print framed in plexiglass
100x100cm, edition of 3
originally scheduled for last march but delayed by the earthquake in japan, tokyo's frantic gallery
presents this december 'inorganic flora', the first solo exhibition of japanese new media artist macoto murayama,
who layers the worlds of biological investigation, artistic design, and historical study in his collection of digital prints.
the exhibition is divided into two primary parts, 'botanical diagram', the prints of flower images with textual
and mathematical markings, and 'botech art', pieces which emphasis colour and depth. the botanical diagrams
are modeled after historical reference works and engineering plans, utilizing similar conventions of labeling
and layout, but nonetheless treating the subject with an aesthetically minded eye in the tradition of historical
botany illustrations.
the creation of each design is a multistep and multimedia process. murayama begins with research and dissection
of botanical specimens, photographing and sketching their parts. he then composes a 3D model in 3DS max,
modifying individual elements in photoshop and matting the completed diagram in illustrator with captions
and indication of scale.
many of the works feature multiple perspectives of a single specimen, as in 'commelina communis' and 'lathyrus odoratus',
where conventional top, front, and side view diagrams are joined by the multi-organism 'ecology' composition.
among the 'botech' pieces, murayama experiments with diverse colours and arrangements of singular species,
often creating as many as five or more different renditions of the same plant.
presents this december 'inorganic flora', the first solo exhibition of japanese new media artist macoto murayama,
who layers the worlds of biological investigation, artistic design, and historical study in his collection of digital prints.
the exhibition is divided into two primary parts, 'botanical diagram', the prints of flower images with textual
and mathematical markings, and 'botech art', pieces which emphasis colour and depth. the botanical diagrams
are modeled after historical reference works and engineering plans, utilizing similar conventions of labeling
and layout, but nonetheless treating the subject with an aesthetically minded eye in the tradition of historical
botany illustrations.
the creation of each design is a multistep and multimedia process. murayama begins with research and dissection
of botanical specimens, photographing and sketching their parts. he then composes a 3D model in 3DS max,
modifying individual elements in photoshop and matting the completed diagram in illustrator with captions
and indication of scale.
many of the works feature multiple perspectives of a single specimen, as in 'commelina communis' and 'lathyrus odoratus',
where conventional top, front, and side view diagrams are joined by the multi-organism 'ecology' composition.
among the 'botech' pieces, murayama experiments with diverse colours and arrangements of singular species,
often creating as many as five or more different renditions of the same plant.
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