Sachiko KodamaBorn 1970 in Shizuoka, Japan. 1993; B.A., Hokkaido University (Division of Physics.). 1995; M.A., Tsukuba University (Master's Program in Art and Design.) 2000; Completed Doctoral Program in Arts and Design, Received Ph.D. from Tsukuba University. For several years, Kodama has studied about image art works using a computer and holography, now she is making interactive art works using digital media or new materials such as magnetic fluid to explore the theoretical and practical study of media arts. Works Exhibited: Artec'95, 97, 1996; One-man Show (Kobayashi Gallery, Tokyo). 1997; Para Para Parallax Exhibit (Gallery NW House, Tokyo). In 2000, Kodama and Takeno started collaboration in making Prtorude, flow. This work was presented in Siggraph 2001 Art Gallery. A research associate of Univ. of Electro-Communications (Tokyo).
Interview with Sachiko Kodama
We at Pieces had the pleasure to interview up-and-coming artist Sachiko Kodoma. She uses ferrofluid materials in her latest installation "morph tower". The tower as well as her other works introduce various aspects of art and science and captures the beauty magnets can create. You can check out her site at kodama.hc.
The ferrofluid materials you used for your "morph tower" installation are generally used for commercial applications. Why did you decide to use this material for your installation?
I was just struck by the beauty of the ferrofluids, especially by their moving spikes.
Spikes symbolize "life" and "growth", and can sometimes also symbolize "violence". I was just very drawn to the paradoxical beauty and ugliness of the ferrofluids; in other words, I was struck by their ambiguity.
Your "morph tower" displays very complicated and elaborate designs created by a computer program. How did you program this sequence and what made you choose those particular designs?
My first "Morpho Tower" was not complicated. I created the program myself; the fluid simply moves according to the environmental sound level. If a person looks toward the "Morpho Tower" and talks in a loud voice, very big spikes appear quickly. But, soon, I felt like I wanted to introduce some kinds of "rhythm" (beat or breathing) characteristic of animals. So, I began collaborating with Yasushi Miyajima, as he knew of a special technique involving the use of digital music metadata, wherein music could be used to create "rhythm" and emotion-like movement of the ferrofluids.Your tower series has interested both the art and science community. What is your background in science and what led you to combine these two paths?
Well, I studied physics at Hokkaido University (after that, I got a Ph.D. in art). But as a child, I loved to create just about anything. I loved drawing pictures, making three dimensional kites, playing with coils and motors, growing plants?anything that involved creating something. I also enjoyed playing musical instruments and reading and writing. Mathematics was my favorite subject. Now, I thoroughly enjoy playing with my 5-year-old son. I am not willing to combine just only the art and science community, but also I am willing to combine ?everything? to be a human being. And it seems to me that art is the only way to combine everything in this modern society.
What is the significance of the project title Protrude, Flow?
These words are verbs. Not nouns. I wanted to convey and portray dynamic energy; flowing, metamorphosing texture; and shapelessness. Also, I did not consciously choose "ferrofluids" for my project; the significance of the project is not in the material used: any material could have been used to give form to this idea.
Much of your work deals with motion and fluidity; would you say that's a common theme among your art pieces? What messages are you trying to convey to the audience, especially in the seven questions piece?
Motion and fluidity is one of my themes, because it penetrates our mind deeply. The movement of liquids and texture brings to mind something that is living. In the "Seven Question" piece, people imagine something when they see the ferrofluid movement in the sink and when they hear the voice from the mirror asking questions. What they imagine is a projection of people's minds. Here, ferrofluids will take different meanings, depending on each person's imagination.What would you say inspires you in your artwork?
I always ask, "What is life?" or "D'oú venons nous?"
Where can we see permanent exhibits of your artwork?
In the United States, the Samuel Freeman Gallery in Santa Monica has a small "Morpho Tower" piece; I think that if you want to see it, you need to ask the authorities, and they will show it to you. Also, gallery Sakamaki in Tokyo has some of my small pieces.
There is a very large piece of the "Protrude Flow 2008" in Madrid, which is where I created this work for the Museo Nacional Centro de Arte Reina Sofía (MNCARS) when I stayed there last year. The museum has the piece, but it is not currently on display (it may be in the storehouse).
A children?s museum in Okinawa prefecture in Japan has the "Equivalent Point" (They call this work "Nagareru Toge Toge" (meaning "moving Spikes" in Japanese), as it is easier for children to understand.) This piece is a permanent exhibit.
The Miyakonojo City Museum of Art in Japan has a piece called "Pulsate", which is also a permanent piece.
I am now creating a permanent exhibit for the National Science and Technology Museum in Taiwan. Although the museum is a science museum, I was asked to create a piece of artwork. This is because my art is probably seen as a kind of a gateway linking the worlds of art and science.
If you are interested in learning more about Sachiko Kodama there is a great exhibition catalog published by the MNCARS (Maquinas & Almas). There is also a recent book called "Digital by Design" which includes photographs and some literature on her work. Pieces is grateful to Ms. Kodama for taking time out of her schedule for this interview.
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