Tokujin Yoshioka is preparing to showcase his latest project “Snow”  during the Sensing Nature exhibition at Mori Art Museum, Tokyo. This short film below provides a greater insight to the impressive installation from the artist, an angle that allows the audiences to perceive the beauty of the nature when standing in front of this dynamic installation. Further below is a short interview with

[youtube width="620" height="400"]http://www.youtube.com/watch?v=3H_hRsdX7Bw[/youtube]

■ Please tell us about your new work.

Tokujin Yoshioka – In recent years, I have been studying the essence that human beings would sense. It is neither arranging nor minimizing the forms, but integrating the phenomena and the low of the nature into the design, and see how it would affect and inspire ourselves.

Because I believe there is a hint for the future somewhere in-between the essence of the design and the nature, I would like to pursue designing  works with this aspect.

The Snow is a 15-meter-wide dynamic installation.

Seeing the hundreds kilograms of light feather blown all over and falling down slowly, the memory of the snowscape would lie within people’s heart would be bubbled up.

This work would show unimaginable beauty by capturing the irregular movement of the nature. This is designed after the installation in 1997 that expressed the “snow” by the concept of the color “white”.

■ What kind of materials did you use?

Tokujin Yoshioka – The material is feather, which I believe is the lightest material of the present day.

The snowscape created with the feather would be more like the memory of snow lying with people rather than the actual snow.

■ The “Waterfall” will be exhibited to the public for the first time in Japan. Please tell us about this work.

Tokujin Yoshioka – “Waterfall” is  the world’s largest optical glass table created after the “Chair that disappears in the rain,” undertaken for the Roppongi Hills in 2002.

The work is created with a 4.8-meter huge optical glass, which is the material also used for the space shuttle. It overwhelms the audience by its appearance that seems as if the water falls energetically off a sheer cliff.

■ Do you consider your new work as design or art?

Tokujin Yoshioka – I believe everything related to the creation, not only art and design but also even fields like science and cuisine, will be discussed on the same stage due to the globalization of today.

In this belief, I do not think I need to clarify if my works are art or design.

I always have solid idea of what I would like to express first rather than having the category, then let it free to be categorized by each viewer.

What is the most important to me is not my work to fit into one specific category but to inspire or talk to people’s heart.

■ The theme of the exhibition is to rethink the Japanese perception of nature, which is to question how the unconscious power to sense the nature and the value of nature in Japan would affect the contemporary art and design. What is the value of nature that you believe?

Tokujin Yoshioka – I do not really know about the value of nature in Japan, but what I would like to do is not to reproduce the nature but to know how human senses function when experiencing nature.

The most beautiful things I believe in this world is what is irreproducible, accidentally born, and disorder that cannot be understood by the theory. I believe the nature is the ultimate beauty in this world.

The sunlight, soft breeze, and the harmony that leaves create, the variety of the essence in the nature touches our emotions. I intend not to reproduce them, but to pick the element that inspires our heart and integrate it into the deign.