2025 | single-channel video, found footage, colour, sound, wooden bird
"Hunched over in my usual posture, earphones on. On the familiar device in my hands: an unsettling video, a collage of someone else’s nonsensical resources. Behind it, a faint glimpse of a wooden therapy toy." A speculation on my fixation with this abrupt, plotless vision. A prototype exploring a specific aesthetic: the invention and accumulation of autonomous code.
Work for Yelim Ki's text "Teenage Lightning: Cinematic Apparatus On Humanly Perception"
2025 | digital collage, print
Production design management : Sohyon Lee
Illustration : Rakuto Sano
Text, cover and layout design by Yelim Ki
This book explores how we experience perceptual dissociation and deep immersion when engaging with screen media. Drawing from media criticism, psychological states, and the evolution of visual technology in cinema, the book examines how our senses respond to screens. A central theme is the reconsideration of animism—the belief that objects or images possess life—as a fundamental, primitive form of cinema.
(Text from Yelim Ki's IG)
In an era of instant information, the invisible has been rendered visible, and copyright has surrendered its control. All content is shuffled onto a single timeline, where even the most harrowing images are assimilated into the everyday. This film addresses the 'distance between us and tragedies afar,' using only web-collected clips of fireworks.
Here, coarse pixels from disparate resources recreate familiar scenes that remain perpetually remote. These junk fragments echo actual hate and atrocities, creating a cynical déjà vu where tragedy constantly flickers between presence and absence.
"Title quoted by Harlan Ellison’s "I Have No Mouth, and I Must Scream."
現在、場所を問わず即座に情報が得られるようになり、隠されていた状況が可視化され、コピーライトもコントロールを失った。すべてのコンテンツが同じタイムライン上でシャッフルされ、恐ろしく衝撃的な光景も日常に同化されるようになってしまった。
この作品はそこでの【遠く離れた悲劇との距離感】について、インターネット上で収集された「花火にまつわる映像」のみで制作された映像である。ここでは、目の前で遠く離れ続ける慣れ親しんでしまったシーンを雑多なリソースの粗いドットが再現し、実際のヘイトや残虐行為に対してジャンクな素材が既視感を持ち、悲劇が皮肉に重なったり離れたりする。
タイトルはハーラン・エリスンの短編小説『I Have No Mouth, and I Must Scream』（邦題『おれには口がない、それでもおれは叫ぶ』）から引用。
Grief. Firestarter
2024 | wood, plaster, tennis ball
Coherent-Trickster
2024 | portrait, digital
Rat think
2023 | digital collage, inkjet print
Session & Screening with Atsuwo Kojima, Reiji Saito
2023 | 90min live session & screening with Atsuwo Kojima (moreru (Gt.), stealer (Vo.), founder of evil spa), Reiji Saito (Video artist. Based in Tokyo. ) at Secret Venue (Ohjo Building, EAST EAST 2023 opening event)
Special screening of video works by Reiji Saito with sound collage performed by Kojima Atsuwo and rench kee. A live session that compound the dimension of sound - image - space through irregularly divided spontaneity.
斎藤玲児による映像作品の特殊上映とコジマアツヲ、Rench Keeのサウンドコラージュの上演。不規則に分割された突発的な即興性、音-映像-空間の階層状を、複合化する90minのみのライブセッション。
[comment by ether]
Reiji Saito x Atsuwo x Rench Kee
Sneaking out of ether floor, I opened the door that was kept shut until a bit before 1, it was about time. Something so sublime about the way this room is set, the video was all close-up shot for 1 and half hour, with guitar and tape player to intensify the deliver.
Something about it made me question my honesty, if I was paying enough attention to the things I really should have cared.
I felt broken and intense, squeezed myself out of the room after the first sound of guitar.
later I heard even the pattern of wood used as a surface to set up mixers were carefully chosen between 3 performers.
I still think of the part I didn’t get to see.
Atom Container
2023 | located in Pasadena, US
FAKE TRAUMA
2024 | Pencil and colored pencil on the floorboard of copycenter gallery
