Ryoicihi Kurokawa’s work falls in two broad categories or as the author puts it two hangers. The first category is projects that challenge synaesthesia, the concept of stimulating senses involuntarily using other senses. Whereas the second Category is “Deconstruction of nature”, where Kurokawa creates pieces that revolve around algorithms, shapes, sounds, etc found in nature. The former is described as the tasting of colors or seeing of sounds. Projects under this category are created in a way that combines audio and visuals to stimulate the brain. I’ve always been a big fan of projects that explore both audio and visuals at the same time yet this makes me question where the line is drawn between mastering a good balance of both and creating overly stimulating pieces that end up being a bit too much for people. Is there even a limit or is it entirely subjective?  

Projects on the latter hanger, “Deconstruction of Nature,”  are based on natural occurrences and phenomena. These types of projects remind me of Marco Barotti, another artist who draws inspiration from natural phenomena and biological systems. Barotti’s work often involves kinetic sculptures and sound installations that mimic or respond to environmental changes. Like many other artists, both Kurokawa and Barotti saw natural systems with a more microscopic lens and decided to take that as a base for their artistic pieces. Both artists examine nature through a microscopic lens, breaking down organic forms into data-driven structures or reinterpreting biological and ecological systems through interactive installations. Which bridges the gap between nature and technology.