Studio Visits

Studio Visit: Enrico Isamu Oyama

Enrico Isamu Oyama

"In graffiti culture, a name, composed of stylized letters, represents writer’s alter ego. I remove letter shapes, extract only the flowing line and repeat it to maximize its dynamism. By doing so, I create an abstract motif. Instead of having a new name for my self, I gave a name to the motif: Quick Turn Structure.

What was a name that represented one's alter ego turned into plain visual objects. Lines slash back, spin and interlock. Facet-like surfaces generate three-dimensional depth. Those visual objects create a complex shape through minimal yet spontaneous expansion. Its tightly knit structure multiplies by intrinsic order and grows without hardening up. 

The way QTS generates is not based on a mathematical algorithm nor a random improvisation. Instead, it is based on a methodology that was somatically gained through the experience of numerous practices performed on various media with different scales and materials.

QTS has its own life. Its physical manifestations are channelled into unique art pieces from one specific moment in time. The pieces are called FFIGURATI, a term referring to the word “graffiti” and the Italian expression “figùrati” (literally translated as “figure it out yourself”), numbered in the order of their creation."


Studio Visit: Aaron Taylor Kuffner

I had the pleasure of visiting Araon's Studio with Deborah Iskandar and Melody Zhang. We were fascinated by the multi dimensional approach that his work offers. For me the works exist between installation, composition, sculpture and performance, all of which are referencing ancient instrumentation through contemporary technology. Here is what the artist says about his own work: 

“Gamelatrons draws on the thousand-year-old sonic tradition of Indonesia–Gamelan–and the emerging field of robotics to create magical, viscerally-powerful, site-specific performances, installations and stand alone art works. Handcrafted, masterfully-tuned orchestras of vibraphones, drums, chimes, bells and resonating bronze gongs are played by mechanical mallets installed to immerse the audience in living kinetic sculptures.

The artworks’ mission is to expand the legacy and creative cultural power of gamelan through innovation. The Gamelatron Project exposes us to the rich and profound nature of resonance and its effect on the psyche. The Gamelatron’s contrasting materials and mechanisms tell us a story of globalization and modernization. Principal artist Aaron Taylor Kuffner uses exhibitions of the Gamelatrons to create sanctuaries both in public and private spaces.”