Changes Cycles and Shapes Tlahcuiloliztli Digital ītēchcopa Yuko Suzuki

Tlanāhuatīlli Changes Cycles and Shapes Tlahcuiloliztli Digital ītēchcopa Yuko Suzuki cē cencā mahuizzō tēmacēhualōni īpan huēyi 2025 Mahuizolli A' Design Award Cozticteocuitlatl īpan Yancuicchihualiztli, Tlapohualiztepoztli, Tlanahuatiltepoztli ihuan Tepoztlalnamiquiliztli-Palehuilli Tlachihchihualiztli Nēhuilīztli Tlamantli.

CozticteocuitlatlYancuicchihualiztli· 2025

Changes Cycles and Shapes Tlahcuiloliztli Digital

īpal Yuko Suzuki

Tlanāhuatīlli: Feral File

Mahuizolli A' Design Award Cozticteocuitlatl Tēmacēhualōni īpan Yancuicchihualiztli Tlamantli

210,079

Tlaneltīlīlli Tēmacēhualōni

Xictlaneltilia Tēmacēhualli ītēchcopa #170864

Xiquitta Tlahcuilōlcalli Xiquitta A' Design Award ītechcopa Āmatl Tēmachiyōtīliztli Tlamachiōtl

Tlapalli

Tlanēxtilistli

Ītechcopa Changes Cycles and Shapes Tlahcuiloliztli Digital

Inin tequitl quitemohua: ¿Tlen tlahcuilolli? mochihua ipampa quitenewa in yahualiztli in ixnexiliztli. Quipia iyoliliztli itech in patlaniliztli in itlahcuilo Mondrian, motlalia ipan ce amatlapohualli in tlahcuilolli, campa in nechihualiztli nenemi ixpan tlacaqui ihuan ahmotlacaqui, ihuan ixpan cococaitl ihuan tlacempanahualiztli - ce nemilistli mochihua itech tlapalli. Inin tequitl quitta in patlanitztli in digital caliztli, quinextia ca in nechihualiztli ipan patlaniliztli yuhqui neltiliztli. Ipampa quipia tlaixnextilli momachti huan baren, quitta in tequiticatl iyoliz ca tlahcuiloquetl ipan digital nechihualiztli.

Tēixīmachōtiliztli

Ītechcopa Mahuizolli A' Design Award Cozticteocuitlatl

Changes Cycles and Shapes Tlahcuiloliztli Digital ca in quicuic in Mahuizolli A' Design Award Cozticteocuitlatl, huel mahuiztic tlamahuizoliztli tlen momaca in achtopa, huel cualli ihuan mahuiztic tlachihualli. In quicuicah Cozticteocuitlatl ca cenca yancuic, tlachiyani ihuan tlanextic tlachihualli in quinextia in tlamatiliztli ihuan toltecayotl. Ca quinequi in Changes Cycles and Shapes Tlahcuiloliztli Digital quitlalizque yancuic tlamantli ihuan quimacazque tlazohtli. Ni dizayno in quicuic Cozticteocuitlatl ca mahuiztic tlamantli in quihuelitia in toltecayotl, tlamatiliztli, dizayno ihuan teknolohia. Changes Cycles and Shapes Tlahcuiloliztli Digital quiyolchicahua ihuan quipaquiltia in tlacah.

Tlanēxtilistli Ītēixpan

Āmatl Tlanextīliztli

Tlapōhualli, tēquitqueh īwan tēchmachilīztli ōquinmaca in tlanēxtīlīlli.

Cē Zan Ītēchcopa: Based on the question, What is painting?, this work expresses the circulation of multiple visual expressions, evoking the shifting state of digital materiality, oscillating between the concrete and the abstract. In it, it also expresses the idea that forms in between changes are the essence, and we live in a moment in change.
Furthermore, by incorporating textures printed with a baren, the artist's identity as a printmaker is incorporated in a digital form.
Huēyiliztli īhuān Tlacualtepēhualli: 1920×1080 px / 3840×2160 px, 25 seconds, 65 works
Tōcāitl: Generative Art, Coding
Tlachīhualiztli Māchiyōtl: This work was created entirely in a programming language called Processing.
It is made up of animations that change from one shape to the next.
Tlanāhuatīlli Nētēcahuilīztli: The theme of the exhibition was the inheritance of the experimental aesthetics of Hiroshi Kawano, a pioneer of Japanese computer art, so I researched Hiroshi Kawano and the history of past computer art.
I had repeated conversations with this great artist of the past to find out how to connect Kawano's work with my own experiments, and it took me a long time to dig deep into my theme and digest it.
Tlatēmōliztli: This design study aims to explore how print textures can be incorporated into paintings. The researcher delved into the historical background of Hiroshi Kawano and Mondrian to explore how their style and techniques can be reflected in his own work. In terms of methodology, he took an experimental approach and researched the archives of past painters to evolve the expression of his work by combining different materials and textures.
As a result, the work is a reflection of the history of painting, and the influences of Hiroshi Kawano and Mondrian are beautifully integrated. This study proposed a new way of expression that goes beyond the boundaries of print and painting, and offered a new perspective on contemporary art. In terms of business, it made us reconsider the commercial value of art and its potential as design, and in terms of society, it allowed us to delve deeper into the historical and cultural meaning of art.
Tēyōllālīliztli: In painting, shape has an axis of figurative - abstract and an axis of noise - linear, while color also has an axis of noise - linear. Based on the component diagram of painting constructed from this idea, I developed a means of cycling through multiple visual idioms at once, with the work expressing the cycle itself. This work was also inspired by the transitions in Mondrian's paintings.
Tēquitl Cāhuitl: This work was exhibited at Patterns of Flow held at NEORT++ in Tokyo from September 24th to October 6th, 2024.
This exhibition was a collaboration with Right Click Save and Massage Magazine, and the works were sold on Feral File, an NFT platform.
Tēquitl Ōhuitl: In this animation, objects transform over time, oscillating between figurative and abstract, noise and linear. Designed to create a continuous flow of visual changes, the animation's timing and speed are adjusted to create a visually pleasing rhythm. By silently observing these changes, viewers can relate to their own lives and experiences, evoking deep empathy and emotional responses.
Īxiptla Tlanēxtīlli: Image #3: NEORT++, Changes, Cycles, and Shapes in Between, 2024.