Dissected, “de-natured,” and distilled into abstract sounds and images, natural phenomena become eccentric compositions, revealing the wonders contained within.

Ryoichi Kurokawa’s artistic approach reminds me of deconstruction—the process of breaking down natural forms, sounds, and movements into abstracted components before reassembling them into new configurations. His work does not aim to capture nature as it appears to the naked eye; rather, he dissects it, isolates its underlying structures, and reconstructs it through audiovisual synthesis. This act of deconstruction is not about destruction but rather about rediscovery, revealing hidden layers of complexity that are often overlooked in everyday perception.

In Octfalls, Kurokawa takes the movement of water—something familiar and continuous—and deconstructs it into disjointed yet synchronized audiovisual fragments. The cascading motion of waterfalls is translated into sharp, digital interruptions, reframing the fluidity of nature as something mechanical, algorithmic, and layered. In this process, he distills the essence of motion rather than merely illustrating it, allowing the audience to experience nature in a new, mediated form.

This act of reconstruction aligns with the Japanese aesthetic concept of wabi-sabi, which values imperfection and the beauty of decay. Kurokawa’s work does not seek to present a polished, idealized version of nature; instead, he embraces its instability and unpredictability. His compositions often feature glitches, distortions, and irregularities, mirroring the natural world’s inherent disorder. Through deconstruction, he does not strip nature of its essence but rather uncovers its transient, ever-evolving nature, which keeps the audience continuously engage in the nature system.