Sorry, this is the only English description on this website now. Jul. 2009
about... Ultra Low Resolution Painting MOZAIKO
What is MOZAIKO?
MOZAIKO might be referred to as “ultra low resolution” pictures: when you look at these images up close they appear abstract, but from far away a figurative motif becomes visible. These pictures tap into the manner in which humans perceive their surroundings, while drawing upon the concept of “ultra low resolution” as exemplified in computer-related technology.
Digital Content and Objects
Contrary to their “digital-esque” appearance, MOZAIKO designs are made through a very repetitive analog process of trial and error. It is not a matter of simply copying something as it is, but rather using the so-called palette of “ultra low resolution” imaging to experiment with how to express the realness and effect made by a motif. This is actually fairly challenging work (and for that reason it is also quite interesting).
MOZAIKO images are fundamentally created using a computer. In other words, they are made in a “simulated” environment. Therefore, at this point in the process the resulting designs are nothing more than digital content that can be viewed on a display screen.
Finalizing this digital content in the concrete form of an “object” is the next step. For example, when making framed MOZAIKO pictures the final data is produced in accordance with the output (equipment) environment that is comprised by the actual picture size, paper quality and color after printing. As another example, when printing on silkscreen, individual data versions have to be created to consider for the order of overlaying prints. The ultimate decisions on color usage must also be specified to printing conditions on site. The product is perfected in the process of going back and forth between information and physical “things,” and it demands the aid of many sorts of machines and people.
In existing paintings, the contents of an artwork are always inseparable from the actual object. Put in another way, when an artist strokes their brush across a canvas in a studio they are finalizing their content/object (e.g. artwork) at that one place and time. Therefore the product created is invariably singular.
In contrast to this process, from its inception MOZAIKO has driven at a sense of pluralism resulting from its clear division between the concepts of “digital content” and “objects” or “goods.” If I were to compare these creations to established forms of media, I would say that they are not dissimilar from printed artwork. Today, however, we live in an industrially produced and computer-based era of art, craftsmanship and manufacturing. Along with the simple style of pictures that I have produced here, please look forward to the arrival of a variety of complete, MOZAIKO content-based designs and goods!
Economy of Information
We have entered an era in which computer and digital technology has progressed, causing an overflow of enormous quantities of data in our surrounding environment. As a result, distinguishing between well-produced and poorly composed information (of course, this judgment varies widely between people) is increasingly becoming a challenge…
So, what if we just tried decreasing the amount of information? MOZAIKO is one attempt at this sort of approach. Although the information is cut down to the absolute bare bones in these creations, I still aim to conserve some of the “realness,” as well as the impression made by the basic motif on the viewer. In this endeavor, the placement of each constituent color becomes crucial.
Every single element is carefully selected and laid out in relation to the whole picture so that the color combinations produce a convincing effect. Due to the extremely small amount of information, the subtraction of any one piece would undermine the overall composition. On the other hand, when the image is well-composed it is always surprising to note the wondrous nature of human perception and imagination: with “just these few elements” we can see a figure.
This economy of information promotes, in a very small way, an awareness of “waste” amongst the steady daily production and consumption of information. It produces a maximum amount (and unexpected element) of enjoyment out of a minimum amount of component parts. If you really think about it, this notion of “economy of information” has been a part of Japanese culture, in haiku and other forms, since long ago.
| text : Yochimichi "ONDO" Shimizu (MOZAIKO artist) | When you click on the images below, PDF files will open. |
What is MOZAIKO?
MOZAIKO might be referred to as “ultra low resolution” pictures: when you look at these images up close they appear abstract, but from far away a figurative motif becomes visible. These pictures tap into the manner in which humans perceive their surroundings, while drawing upon the concept of “ultra low resolution” as exemplified in computer-related technology.
Digital Content and Objects
Contrary to their “digital-esque” appearance, MOZAIKO designs are made through a very repetitive analog process of trial and error. It is not a matter of simply copying something as it is, but rather using the so-called palette of “ultra low resolution” imaging to experiment with how to express the realness and effect made by a motif. This is actually fairly challenging work (and for that reason it is also quite interesting).
MOZAIKO images are fundamentally created using a computer. In other words, they are made in a “simulated” environment. Therefore, at this point in the process the resulting designs are nothing more than digital content that can be viewed on a display screen.
Finalizing this digital content in the concrete form of an “object” is the next step. For example, when making framed MOZAIKO pictures the final data is produced in accordance with the output (equipment) environment that is comprised by the actual picture size, paper quality and color after printing. As another example, when printing on silkscreen, individual data versions have to be created to consider for the order of overlaying prints. The ultimate decisions on color usage must also be specified to printing conditions on site. The product is perfected in the process of going back and forth between information and physical “things,” and it demands the aid of many sorts of machines and people.
In existing paintings, the contents of an artwork are always inseparable from the actual object. Put in another way, when an artist strokes their brush across a canvas in a studio they are finalizing their content/object (e.g. artwork) at that one place and time. Therefore the product created is invariably singular.
In contrast to this process, from its inception MOZAIKO has driven at a sense of pluralism resulting from its clear division between the concepts of “digital content” and “objects” or “goods.” If I were to compare these creations to established forms of media, I would say that they are not dissimilar from printed artwork. Today, however, we live in an industrially produced and computer-based era of art, craftsmanship and manufacturing. Along with the simple style of pictures that I have produced here, please look forward to the arrival of a variety of complete, MOZAIKO content-based designs and goods!
Economy of Information
We have entered an era in which computer and digital technology has progressed, causing an overflow of enormous quantities of data in our surrounding environment. As a result, distinguishing between well-produced and poorly composed information (of course, this judgment varies widely between people) is increasingly becoming a challenge…
So, what if we just tried decreasing the amount of information? MOZAIKO is one attempt at this sort of approach. Although the information is cut down to the absolute bare bones in these creations, I still aim to conserve some of the “realness,” as well as the impression made by the basic motif on the viewer. In this endeavor, the placement of each constituent color becomes crucial.
Every single element is carefully selected and laid out in relation to the whole picture so that the color combinations produce a convincing effect. Due to the extremely small amount of information, the subtraction of any one piece would undermine the overall composition. On the other hand, when the image is well-composed it is always surprising to note the wondrous nature of human perception and imagination: with “just these few elements” we can see a figure.
This economy of information promotes, in a very small way, an awareness of “waste” amongst the steady daily production and consumption of information. It produces a maximum amount (and unexpected element) of enjoyment out of a minimum amount of component parts. If you really think about it, this notion of “economy of information” has been a part of Japanese culture, in haiku and other forms, since long ago.