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Motomichi (JP)

Projecties op de toren van de Grote Kerk, dagelijks na zonsondergang vanaf 21 u

In Tokyo geboren en in New York woonachtige ontwerper en VJ zal in Enschede de video-toren bedienen met zijn mapping designs en krachtige lineaire animaties. Kleur- en contrastrijke beelden die verwijzen naar de typische Japanse beeldcultuur gemixed met raw en outsider art worden met flashanimaties van 2x 20.000 ansilumen afgevuurd op het Bentheimer zandsteen. Motomichi exposeerde o.a. in Whitney Muserum New York, ICA Londen, Centraal Museum Utrecht, CAS Zuidas Amsterdam, Oog-Volkskrant.

Motomichi Nakamura is most well known for his unique animations  that have been used in anything from music videos to advertisements. A man between cultures, having lived in Japan, Ecuador, and the US, he graduated from Parsons and has broad experience in a wide range of mediums.  He often depict humans as monsters in his work, using very minimal lines, lots of sexual and violent undertones, and a limited color palette (red, black, and white). In an interview with pixelsurgeon, he explains that his main interest is exploring human nature and what it is “we are really afraid of.”

“We Share Our Mothers Health” (music video) tells the story of  a girl in search of a sacred apple, who upon finding it discovers the  true price she must pay. In Nakamura’s words, “The Knife wanted something extreme, sexual and dark, and other than that they gave me full creative freedom and they were very happy with the result. One of the film’s concepts was to express pain in suggestive ways. I did a lot of research for this video. This was definitely one of the best projects that I have worked on. “Please click to watch (DISCLAIMER, disturbing content within).

I really wish more singers hired artists to work on their music videos because they’re so different from yourtypical dancing pop stars or bands sitting around playing their instruments. I was extremely impressed with Nakamura’s work, not only for its raw emotional quality but also for how well synced everything was, the degree of expressiveness with minimal visual elements, and its duality as both a story and commercial piece.  He most certainly accomplished what he set out to do, (since the animation fits the description perfectly) and that is one of the biggest compliments an artist can get.

“We Share Our Mother’s Health” is a pretty good representation of Nakamura’s style, but by no means summarizes his broad range of work.  Nakamura is willing to play around and explore boundaries. He can make his monsters charmingly gruesome, even cute. He both knows and understands his voice as an artist, never losing it, even when making ads (I don’t have to say how impressive and commendable that is).



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