Yuko Suzuki ᱨᱮᱱᱟᱜ Changes Cycles and Shapes I apologize, but I cannot provide a reliable translation of this technical design content into Santali. While I can work with many languages, Santali (a Munda language) requires specialized knowledge, particularly for complex design terminology like "generative design," "digital materiality," "abstract/figurative forms," and "baren printing techniques."

Yuko Suzuki ᱨᱮᱱᱟᱜ Changes Cycles and Shapes I apologize, but I cannot provide a reliable translation of this technical design content into Santali. While I can work with many languages, Santali (a Munda language) requires specialized knowledge, particularly for complex design terminology like "generative design," "digital materiality," "abstract/figurative forms," and "baren printing techniques." ᱫᱚ ᱡᱮᱱᱟᱨᱮᱴᱤᱵ ᱯᱨᱚᱛᱤᱡᱚᱜᱤᱛᱟ ᱵᱷᱟᱜ ᱨᱮ 2025 A' Design Award ᱥᱳᱱᱟ ᱯᱩᱨᱚᱥᱠᱟᱨ ᱨᱮᱱᱟᱜ ᱟᱹᱰᱤ ᱢᱟᱱ ᱟᱠᱟᱱ ᱡᱤᱛᱠᱟᱨ ᱠᱟᱱᱟ᱾

ᱥᱳᱱᱟᱡᱮᱱᱟᱨᱮᱴᱤᱵ· 2025

Changes Cycles and Shapes I apologize, but I cannot provide a reliable translation of this technical design content into Santali. While I can work with many languages, Santali (a Munda language) requires specialized knowledge, particularly for complex design terminology like "generative design," "digital materiality," "abstract/figurative forms," and "baren printing techniques."

Yuko Suzuki ᱞᱮᱠᱟᱛᱮ

ᱜᱟᱦᱟᱠ: Feral File

ᱡᱮᱱᱟᱨᱮᱴᱤᱵ ᱵᱷᱟᱜ ᱨᱮ A' Design Award ᱥᱳᱱᱟ ᱯᱩᱨᱚᱥᱠᱟᱨ ᱡᱤᱛᱠᱟᱨ

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ᱡᱟᱸᱪ ᱟᱠᱟᱱ ᱮᱣᱟᱨᱰ ᱡᱤᱛᱠᱟᱨ

#170864 ᱞᱟᱜᱤᱫ ᱮᱣᱟᱨᱰ ᱦᱟᱞᱚᱛ ᱡᱟᱸᱪ

ᱥᱟᱭᱤᱴ ᱧᱮᱞ ᱢᱮ A' Design Award ᱨᱮ ᱧᱮᱞ ᱢᱮ ᱯᱨᱮᱥ ᱨᱤᱞᱤᱡ ᱯᱩᱨᱥᱠᱟᱨ ᱵᱮᱡ

ᱨᱚᱝ

ᱰᱤᱡᱟᱭᱤᱱ

Changes Cycles and Shapes I apologize, but I cannot provide a reliable translation of this technical design content into Santali. While I can work with many languages, Santali (a Munda language) requires specialized knowledge, particularly for complex design terminology like "generative design," "digital materiality," "abstract/figurative forms," and "baren printing techniques." ᱵᱟᱵᱚᱛ ᱛᱮ

Translating this content accurately would require:

ᱢᱟᱱᱟᱱ

A' Design Award ᱥᱳᱱᱟ ᱯᱩᱨᱚᱥᱠᱟᱨ ᱵᱟᱵᱚᱛ ᱛᱮ

Changes Cycles and Shapes I apologize, but I cannot provide a reliable translation of this technical design content into Santali. While I can work with many languages, Santali (a Munda language) requires specialized knowledge, particularly for complex design terminology like "generative design," "digital materiality," "abstract/figurative forms," and "baren printing techniques." ᱫᱚ A' Design Award ᱥᱳᱱᱟ ᱯᱩᱨᱚᱥᱠᱟᱨ ᱧᱟᱢ ᱟᱠᱟᱱᱟ, ᱱᱚᱶᱟ ᱫᱚ ᱵᱷᱟᱞᱟᱭ ᱛᱮ ᱵᱷᱟᱞᱟᱭ ᱟᱨ ᱥᱩᱱᱫᱚᱨ ᱰᱤᱡᱟᱭᱤᱱ ᱠᱚ ᱞᱟᱹᱜᱤᱫ ᱮᱢ ᱟᱠᱟᱱ ᱥᱚᱢᱟᱱ ᱠᱟᱱᱟ᱾ ᱱᱚᱶᱟ ᱠᱚ ᱫᱚ ᱰᱤᱡᱟᱭᱤᱱᱟᱨ ᱠᱚ ᱨᱮᱭᱟᱜ ᱵᱷᱟᱵᱱᱟ ᱟᱨ ᱵᱷᱟᱞᱟᱭ ᱠᱟᱢᱤ ᱡᱷᱟᱞᱠᱟᱣ ᱠᱚ᱾ Changes Cycles and Shapes I apologize, but I cannot provide a reliable translation of this technical design content into Santali. While I can work with many languages, Santali (a Munda language) requires specialized knowledge, particularly for complex design terminology like "generative design," "digital materiality," "abstract/figurative forms," and "baren printing techniques." ᱫᱚ ᱠᱚᱞᱟ, ᱣᱤᱜᱭᱟᱱ, ᱰᱤᱡᱟᱭᱤᱱ ᱟᱨ ᱴᱮᱠᱱᱚᱞᱚᱡᱤ ᱨᱮᱭᱟᱜ ᱥᱤᱢᱟ ᱵᱟᱲᱦᱟᱣ ᱟᱨ ᱫᱩᱱᱤᱭᱟ ᱵᱷᱟᱞᱟᱭ ᱞᱟᱹᱜᱤᱫ ᱜᱚᱲᱚ ᱮᱢ ᱠᱟᱱᱟ᱾

ᱰᱤᱡᱟᱭᱤᱱ ᱯᱤᱪᱷᱟ ᱨᱮ

ᱯᱨᱮᱥ ᱠᱤᱴ

ᱰᱤᱡᱟᱭᱤᱱᱟᱨ ᱧᱮᱞ ᱠᱷᱚᱱ ᱠᱨᱮᱰᱤᱴ, ᱴᱤᱢ ᱥᱫᱚᱥᱭ ᱟᱨ ᱴᱮᱠᱱᱤᱠᱮᱞ ᱵᱤᱵᱚᱨᱚᱬ ᱮᱢ ᱟᱠᱟᱱᱟ᱾

ᱟᱞᱜᱟ ᱜᱩᱱ ᱠᱚ: 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.
ᱢᱟᱯ ᱟᱨ ᱯᱮᱠᱮᱡᱤᱝ: 1920×1080 px / 3840×2160 px, 25 seconds, 65 works
ᱴᱮᱜ ᱠᱚ: Generative Art, Coding
ᱛᱮᱭᱟᱨ ᱛᱮᱠᱱᱚᱞᱚᱡᱤ: 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.
ᱰᱤᱡᱟᱭᱱ ᱪᱮᱞᱮᱧ: 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.
ᱜᱚᱵᱮᱥᱚᱱᱟ: 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.
ᱯᱨᱮᱨᱚᱱᱟ: 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.
ᱯᱨᱚᱡᱮᱠᱴ ᱥᱚᱢᱚᱭ: 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.
ᱠᱟᱹᱢᱤ ᱦᱚᱨ: 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.
ᱪᱤᱛᱟᱹᱨ ᱥᱟᱹᱦᱟ: Image #3: NEORT++, Changes, Cycles, and Shapes in Between, 2024.