Yuiko Amano
With an incredibly diverse background spanning science, engineering, architecture, and now fine art, how do you see these seemingly disparate fields influencing and converging in your current work?
I believe my interdisciplinary background reflects my personality. I have always been naturally curious about many subjects and have strived to learn about them. My family encouraged me to pursue science and engineering. Later, I developed a passion for architecture, design, and art. While it is possible to delve deeply into a single area, I prefer to connect various fields and consider them holistically, akin to having numerous balloons floating above my head all the time. Simultaneously thinking about different fields can be a fun and creative process.
Your journey has taken you from Tsukuba City to Boulder, Nara, Kyoto, and now London, each with its unique culture and aesthetic. How have these diverse experiences and environments influenced your artistic vision and style?
I was born in Japan but moved to Boulder shortly after that. Even within the United States, Boulder is distinguished by its high mountains and blue skies. I believe I am so fond of the colour blue because of theblue skies over Boulder. In winter, the snow can accumulate several meters deep. However, the nature and wildlife there remain my favourite scenery. After that, I was educated in Nara and Kyoto, traditional areas of Japan that highly value Japanese customs and are rich in ancient Asian cultures. Further, the Japanese countryside, with its beautiful mountains and abundant nature, makes me feel more connected to Japan than to big cities such as Tokyo.
In my mid-twenties, I moved to the international city of London, where, in a sense, I had my first true urban experience. There, I encountered people from diverse backgrounds and identities. For the first time, coming from the great outdoors of America and Japan, I realized that language, nationality, and sexual identity are merely facets of who we are and that there is more to life than these facets. This was a profound lesson to me in my understanding of humanity. Now, I am captivated by the art scene in London, where various cultures intermingle.
You’ve mentioned that during your early teens, you were already recognized for your talent in drawing and enrolled in an art college in the United States through correspondence. Can you share how this early exposure to formal art training has shaped your creative process today?
I have always had the talent of drawing, which has been evident since I was three years old. My parents and teachers had high expectations for me, so I made drawing a part of my daily routine until I entered high school. At 12, I was recommended to an art college after participating in a competition, and it was wonderful to learn the basics of drawing there. However, after moving to London and receiving art education at university and graduate school, I realized that drawing ability does not significantly impact one's qualities as an artist. Nevertheless, the memories and training from childhood to adolescence have given me a creative ability and a deep sense of joy in creating art. In summary, it seems that I genuinely enjoy 'creative' endeavours.
Your work in the realm of science and engineering, particularly in the development of observational instruments like hydrophones, is fascinating. How does this scientific approach to understanding the world inform your art, especially in terms of themes and methodologies?
Influenced by my family, I majored in science and engineering at university and graduate school, where I developed a scientific mindset. The scientific approach is quite different from the approach used in art, but I believe the former allows me to express myself andmake more unique creations than other artists. In art, understanding people is important, but science, paradoxically, is attractive in the art world because it seeks to understand the world without focusing on people.
Transitioning from a more traditional scientific career to pursuing a master’s degree in architecture and urban design at The Royal College of Art is a bold move. What prompted this shift, and how has your background in science and engineering influenced your studies and work in architecture and urban design?
Honestly, my interest has been in design and art from the beginning. Influenced by my family, I decided to major in science in my teens, and I genuinely enjoyed the research that I did. I was especially fascinated by reading papers and collecting and analysing new data. However, I could not suppress my desire to study design or art. Therefore, I pursued architectural design, a field closely related to engineering, at a university in London.
During my studies there, I realized that I could not apply my science and engineering knowledge as much as I had hoped because architecture is unique and has a distinct approach to thinking and a set of rules. This realization was a major discovery for me while studying in the architecture department.
The concept of AI as a tool and theme in art is a recurring element in your work. Could you elaborate on your project 'AI becomes painter' and how you envision the future of AI in the art world?
My talent in drawing and expression has been recognised since I was a child. In recent years, I have felt a sense of crisis when seeing works created by AI. It is said that AI will similarly replace many professions. I believe that in the future, AI will be used in professions such as professional illustration and animation.
Regarding the field of fine art, I think that diversity is an important element. Therefore, I do not believe that AI will replace everything. However, I think that the number of artists using AI to express themselves will increase. Particularly, even people who are not skilled in drawing or have no formal training will be able to create wonderful paintings. It will be interesting to see what kind of works will be created and how these works will be evaluated.
Your sculptures and experimental art often delve into conceptual themes, such as the "war between machines and humans". What inspires these themes, and how do you hope your audience interacts with or interprets these works?
When we think of a battle between machines and humans, we often imagine a dystopian world such asthe one depicted in the movie Terminator. However, I foresee a post-dystopian future beyond that, which will be neither paradise nor desolate, but, rather, an orderly, inorganic world controlled by AI and robots. In this scenario, humans will be able to live comfortably, with their lives and abilities supported by AI and robots.
Yet this post-dystopian scenario can sometimes feel inhuman, especially in the world of art, where human perspective and emotion are vital. Consequently, we might consider how humans will 'fight' against AI (machines). I believe this battle will not be physical but rather mental – a war of minds and creativity.
You’ve recently returned to analog painting, inspired by the art and graffiti culture of East London, after a period focused on digital and AI-based techniques. What has this transition been like for you, and how do the two approaches complement each other in your creative process?
I intend to continue expressing myself digitally, but I have become particularly fond of the graffiti and creative ambiance of East London which embody London's immigrant culture and serve as a hub for new beginnings due to London's gentrification. Fresh art and culture continually emerge in East London. I have the most fun in East London, where the graffiti scene and events evoke memories of my drawing experiences in Japan. East London is the antithesis of digital technology, yet I believe it is crucial to always remember the human aspect in technology. In the future, I aspire to challenge myself by expressing my creativity through analogue painting.
In your latest project, ‘Motif-less’ Tearooms, you’ve started converting images generated with AI into analog paintings. Could you discuss the challenges and discoveries you’ve encountered in blending these digital and traditional techniques?
This piece is a recent addition to my project, which I showcased at an exhibition held in April this year in Venice, coinciding with the Venice Biennale. Although the drawing capability of AI is still evolving, I believethat, currently, I can produce better paintings by handthan AI can. Nonetheless, I am intrigued to explore, albeit in an experimental manner, how AI will progress in the future and how the competition between the 'ability' of AI and humans will unfold.
Looking towards the future, how do you see your work evolving, and are there any new mediums or technologies you are eager to explore?
One of the overarching themes in my artistic practice revolves around the latest advancements in science, technology, and space exploration. I strongly believe that integrating these elements into artistic expression is crucial for creating new, innovative forms of expression. Specifically, I am intrigued by the potential of incorporating technologies beyond AI, such as those that replicate the senses of touch, taste, and smell as well as sensor-based works. I believe these technologies will have a fascinating impact on creating audience-experience-driven expressions.