Audio and visual concordance is key in Ryoichi Kurokawa’s works. The Japanese artist considers both the audio and visual elements as different vectors of one unique piece that have to flow together and enter into collision at the same time.
Based on this principle of hybridisation, the audiovisual concert subassemblies explores the relationship between nature and human-made structures through an architectural perspective.
The main visual sources of this project are 3D data captured from laser scanning, thermal images and filmed footage of forests, architecture and ruins which are distorted and reconstructed into modules as subassemblies, thus creating a renewed timeline with renewed layers of order and disorder while revealing the force of both nature and art.