Three-dimensional art pieces deconstructed into nostalgic 8-bit cubes, this series is an expedition to unearth the pixelated bumpiness of three-dimensional forms. The process is one of distillation and discovery: removing information to bring into focus the most important elements.
Maps have meaning because they filter out all the chaos in the world and focus obsessively on one item. For Shinji, that one item is a nostalgic love for video game titles of the 80s like Zelda and Dragon Quest. Using the primitive tools of the past, like low-resolution icons, Shinji navigates and recreates his current environment now rooted in fantasy and adventure.
In Matrix, Shinji Murakami presents the primitive, abstract, and minimalistic beauty of pixels, the building blocks of his prior works dealing with the theory of Withered Technology. Shinji uses LED lights both as a parallel to pixels - LEDs shine at a point - and a reference to his heritage - blue LED lights were deemed impossible prior to their creation by three Japanese inventors. Inspired by video games of the 1980s and with the animated sparkle of early-concept emojis, Matrix pays homage to the history of computer technology while looking forward to the use of LED in artistic creation.
The perception of female beauty changes according to time period, but forever remains a popular subject matter for artists around the world. Just like each society’s definition of beauty is slightly different, Shinji interprets this ubiquitous topic using building blocks of the digital world – pixels, which are abound in this post-web revolution. They’re infinitely saved, searched and accessed.
Among nature's countless gifts are flowers, which are often used by mankind to express emotions like love. From Andy Warhold to Takashi Murakami, the universal language of flowers have been explored by artists in significant ways. In a sense, flowers are a symbol of art itself.