teamLab: Everything Exists in Infinite Continuity | teamLab

Darkness is in front, and light exists in the depths.Substance and perception become ambiguous, and physical boundaries disappear.The sea gently ebbs and flows in the eternity of time.
The black of the lines that trace the waves is darkness — that is, a state without light. However, the lines drawn by the darkness, which are void of matter or light, appear in front of the shimmering light and continue to flow.
To recognize existence does not involve the presence of objects or light.Existence is born and shaped in relation to its surroundings.
Here, the waves are drawn through Ultrasubjective Space, and thus become a pictorial space that restores bodily freedom.
On the other hand, while the pictorial world is depicted on the screen, a strong shimmering light simultaneously covers that world. This shimmering light is caused by the light itself that depicts the world of waves reflecting on the surface of the screen.The shimmering light continues to change with the passage of time, even if the viewer does not move. Furthermore, in response to the environment and the moving body of the viewer, its appearance changes, and shines from the depths of the pictorial world. While appearing across the entire screen, the shimmering light is an extremely personal light, existing only within the viewer's own perception.
The space created by this shimmering light is not an illusion of depth depicted on a flat painting. It is a space that emerges at that moment through the movement of the viewer's body and the light that depicts the world of waves.The only physical material is copper. The pictorial space created by the group of shimmering points is generated within the relationship among the physical material, time, light, the environment, and the viewer's body, and emerges within the viewer's perception. While appearing on the screen, the pictorial space is continuous with the real space where the body exists, and expands into the depths of the pictorial space as a bodily space of light.
The bodily pictorial space drawn through Ultrasubjective Space and the bodily space of light created by the shimmering light overlap. There, the waves drawn by darkness, the copper surface, the shimmering light, the environment, and the viewer's body and perception interact with each other, and a boundless bodily pictorial world of light emerges, continuous with the space where the body exists.

A murmuration is not depicted by the contours of individual birds.
When birds fly, the surrounding environment, such as the air, also moves due to the flapping of their wings and the movement of their bodies. As long as birds live, they continuously dissipate energy into the world and keep moving the surrounding environment. This artwork does not depict the material surface boundary of the bird itself, but depicts the existence of the murmuration through the energy that the murmuration continues to give to the world and the resulting movement of the environment.
A murmuration is not an accumulation of individual birds, but a giant, organic phenomenon of collective flight. The birds rise up in the space like a single large entity, while mutually changing their distance, direction, and speed from each other. The contours of its existence are not the surface boundary of individual birds' bodies. It is something ambiguous that includes the bodies of the birds, the flow of air that is continuous with them, and the energy dissipated into the surroundings.
When viewers pass in front of the artwork, the viewers themselves also move the surrounding environment. This movement occurs in the same space as the space where the depicted murmuration is. The movement of the murmuration and the movement of the viewer blend together within the same flow of energy, and the lines that depict the murmuration are disrupted and change due to the movement of the viewer.
This painting is not an image for looking at the murmuration from the outside. It becomes a continuous field where the depicted murmuration and the viewer exist within the same environment. The murmuration is not a closed existence on the other side of the screen, but changes its appearance while blending with the environment moved by the viewer's body.
Objects like stones continue to exist even if placed in a closed box, sealed off from the outside world. But life cannot maintain its existence in such a closed box. Life consumes external matter and energy as food and discharges it, maintaining its structure as the energy dissipates.
Life is like a vortex created in the ocean, an existence within a flow, and the boundaries of its existence are ambiguous, an existence within an infinite continuity.
A murmuration is also an existence that emerges within a flow. Through the continuity of individual birds' bodies, the movement of air, the dissipated energy, the viewer's body, and the surrounding environment, a giant phenomenon of a murmuration is born.
To be alive is to constantly dissipate energy into the world and to be an open existence, continuous with the world.

Countless spheres of light and spheres of darkness.Each sphere of light can be clearly perceived in the space as a mass seemingly made of solidified light, however, there is no material surface boundary. The perception of the boundary between the artwork and your body is ambiguous.When you broaden your vision, purple-blue spheres made of darkness also begin to appear, as though darkness has been solidified.
If you try to touch a sphere of light, the sphere shines brightly and the surrounding spheres respond one after the other.Light does not solidify, and masses made entirely of light do not exist in the universe. In other words, these spheres of light only exist in your perception.The artwork cannot exist on its own - its existence is a phenomenon created by its environment.The work questions the notion of existence and what it means.

The eternally continuous life and death of flowers connects to the eternal now.
The world of the artwork is in the same flow of time in which we live. It grows brighter with the sunrise of this location and darker with the sunset. And, in accordance with the changing of the seasons, the blooming flowers slowly change.
The real time in which the viewer exists and the time in which the flowers change as they go through cycles of life and death are connected to this place and the world of the artwork, continuing and overlapping without being separated.
This pictorial world drawn through Ultrasubjective Space does not split the world of the artwork and the space the viewer is in, with the screen acting as a boundary. The world of the artwork is continuously connected to the space in which the viewer’s body exists, and the viewer, while retaining free bodily movement, walks inside this space where different times intersect in the same place.
The artwork continues to be drawn in real time, and continuously changes eternally, without the previous state being replicated as a whole. The picture at this moment can never be seen again.
The repeated life and death of the flowers in front of our eyes will continue into the future, while remaining connected to the now of this location. When we feel that continuity within the eternal now, we realize that life and death has continued from the distant past to the present, and that our existence stands upon that continuity.

This painting comes into existence for the first time only at the moment when a person views the artwork. It exists as infinite possibilities of images until it is viewed, at which moment it is determined as a single image. The image continues to change with the passage of time, even if the viewer does not move. Furthermore, in response to the environment and the moving body of the viewer, its appearance changes each time, and shines from the depths of the pictorial world. While appearing across the entire screen, the image emerges as different each time within the perception of each viewer.
This pictorial space is not an illusion of depth depicted on a flat painting. It is a space that emerges at a moment through time, light, the environment, and the movement of the viewer's body. While appearing on the screen, the pictorial space is continuous with the real space where the body exists, and expands into the depths of the screen as a space of light.
The only physical material is copper. The image is generated within the relationship among the physical material, light, the environment, body, and perception, without the medium of video.
This artwork is an attempt to expand painting from a completed image, or an illusion of space depicted on a flat plane, into a pictorial space that is continuous with the real space and is generated from the relationship among time, light, the environment, the body, and perception. The image is a bodily space of light that emerges at each moment within perception.