| You began CG in 1975. What prompted you to become involved with CG? |
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From early childhood, I always wanted to go to space. I wanted to reach the Magellanic Clouds, which is a galaxy beyond the Milky Way, and meet extraterrestrials. But realistically this was impossible. So I decided to make the creatures I thought would be there if I did go. I chose CG because CG makes it possible to expect what can be generated and produce something out of nothing while sketches and drawings can only express a fictional creation of the imagination. I also wanted to put a sense of science into art. I thought it would be quite interesting art if I could make creatures grow and evolve as an empirical simulation by introducing elements of math, physics and biology.
Because of this, CG was the best medium for what I wanted to do. |
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| Was traveling to space a dream from your childhood? |
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| Yes because I am from Tanegashima, where a space center is located. I grew up in an environment where I could see rockets being launched. I always dreamed of space, where those rockets were destined. If I had not grown up in Tanegashima, I would have had a totally different life. |
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| When did the young man with a fascination with the universe encounter computers? |
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It was 1972 or 1973. While I was at the Kyushu Institute of Design (now Kyushu University). At that time, computers had more a character as being calculators, so that CG was referred to as "automated-drafting." But I thought it would be interesting to use computers for art. It would be interesting to express life-breathing exercises artistically using CG.
And I started to make geometric forms breathe and multiply.
"Time modeling" was very important for me. So I wanted to make pieces that change over time. When I was at university, I spent all my time rotating, multiplying and moving geometric forms. |
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