The diversity of expression in animation in recent years owes a lot to the role of computers and Internet ad- vances. Production methods continue to change, and with a little experience, levels and quality can be en- hanced. It is easier to access information too, so that we can see a vast number of works in terms of both quality and quantity, helping us understand what video expression is. This means that skills can be improved in a short time by combining perception and motiva- tion, and impressive works are created. It makes sense that so many high-quality animated films have been produced recently.When artists present their work, they do so with the hope that their thoughts will be understood and that their art will gain audience. Artists have different views, with some wanting to reach a large audience and some being satisfied if it reaches particularly perceptive people, and this determines the quality of the work. The work's orientation creates both positive and negative aspects, and leads to assessments like "unique," "dep- ersonalized," "difficult" and "easy to understand."This diversity and the differences in how the works approach their audiences makes it difficult to judge ani- mated films, and the judges' own individuality also has an impact.La Chute won the Grand Prize. Not everyone can appreciate its unique sensibility, but the loops in which it is presented (which could be seen as non-conformist and annoyingly persistent) make the viewer feel an overwhelming sense of defeat and succeed in leaving a strong impression on the viewer. This made La Chute worthy of this prize. Invisible was extremely ambitious and left a great impact, and made me feel the unique appeal of animation, which linked pictures appear as moving images.Overall, I felt that many works were excellent, but few stood out for me. The full-length animated films dealt with similar themes, and lacked fresh storylines.In my own opinion, judging in the Japan Media Arts Festival must draw out differences with other anima- tion competitions. The works that won Grand Prizes this year were the type that are experienced as empty spaces, and I find it intriguing that works that did not emphasize story won.
Born in Shizuoka Prefecture in 1966. He is the representative of Stripe Factory, Inc. and a lecturer at Tama Art University. At SIGGRAPH, the leading academic conference for computer graphics, he has won ten awards since 1993 for both his artwork and commercial work such as TV commercials. He has won numerous awards at festivals outside Japan such as Prix Ars Electronica and IMAGINA. His vigorous activity has international and domestic reach, and he has participated in a large number of group exhibitions at museums, including the Tokyo Metropolitan Museum of Photography and the Tokyo Metropolitan Museum of Art. He is also active as a director for commercials. He has created motion graphics for Toshiba, Suntory, and Japan Television among others. At the Aichi Expo he was the director of the first floor of the Seto Japan Pavilion. He has created promotion videos for Ken ISHII and INOUE Yosui and is also drawing attention as a VJ at live concerts. In 2015, a solo exhibition of his 3D works was held under the title PINK SKIN.
Back division top