Skinslides (2009-now, ver.1.5)






Construction: Richi Owaki

Performance: Alessio Silvestrin

Sound: Otomo Yoshihide

Programming: Satoshi Hama (YCAM InterLab)

Technical support: YCAM InterLab


2009 –now

Premier: 2009 – Updated until 2016


Premier: Group Exhibition “Body as Interimage”  Yamaguchi Center for Arts and Media[YCAM] | Yamaguchi, JP

Art Prize The Grand Priz, Jaguar Asia Tech, Art Taipei 2015(TaipeiTW 2015)

Art Division Jury’s selection, 16th Japan Media Arts Festival (Tokyo JP 2012)

Group Exhibition “NJP Summer Festival – 21 Rooms” Nam June Paik Art Center (Gyeonggi-do KR 2011)

Group Exhibition “Body as Interimage”  Yamaguchi Center for Arts and Media [YCAM] (Yamaguchi JP 2009)



720p(Original image 1080i) | Original plastic screen 1.8m x 0.9m 3piece | 3 projector, 1 display(24ince), 4 Computer(Mac Air)



This work has two objectives: one is to develop the possibilities of tactile viewer experience with the vibrations of sounds through allowing viewers to touch the vibrating screen; the other is to preserve the dancer by automatically producing the choreography, thus redefining the existence of a dancer as perpetually and timeless.


Motion shooting records the precise movements of the dancer:

This video was shot in high vision from under the floor through a transparent acryl panel sized 15 mm x 1.8m x 0.9m, which is the size of one tatami mat. The ceiling has halogen lights and I placed four fluorescent lights just above the floor, helping the video to capture the dancer’s skin in detail and the precise movements of the dancer’s center of gravity.


Less dots in the work with the projector work:

The screen is made with frost acryl panel and half milked color acryl panel bound together. The surface of the work thus has less dots, feathering the square light source of the projector. This may also create a texture of the shadow from the video and the viewers who may touch the screen.


Producing the dancer as an artificial life:

The computer program automatically produces the choreography by choosing random patterns. First, there are five different scenes that are ordered in time. The choreography is chosen by the program, which have been sorted and grouped by dancer movements, positions and other distinctive facets like slowness and aggressiveness.


In addition, the program always chooses pairs of images for each movement, combining each frame with its counterpoint image: mirror reversed, upside down reversed or negative and positive reversed. The dance program consists of three projection screens but the computer program has four screens. Using the fourth screen, which viewers cannot see, I deform the stable structure of the three screens and create unpredictable sequences, silences and blanks on the three actual screens.