Сачико Кодама
児玉幸子

Protrude Flow
via highlike submit

source: sachikokodama

Sachiko Kodama :Biography

Sachiko Kodama was born in Japan in 1970, and has lived in Shizuoka.
As a child she spent a lot of time in the southernmost part of Japan.
This area is rich in tropical flowers and plants, edged by the sea, and
washed with warm rain. Sachiko loved art and literature from an early age,
but also had a strong interest in science.

After Graduating Physics course in the Department of Science at Hokkaido University,
In 1993, Sachiko matriculated in the Fine Arts Department at the University of Tsukuba,
studying Plastic Art and Mixed Media. Then she completed Master’s and Doctoral Program
in Art and Design at the University of Tsukuba. She studied Computer and Holography Art
in her doctral period, and received Ph.D. in Art.

In 2000, Sachiko began work on a ferrofluid art project that she named “Protrude, Flow”.
The dynamic movement of liquids is the theme of this project.

Her work has been exhibited at Ars Electronica Center/Linz, National Taiwan Museum of Fine Arts,
Tokyo Metropolitan Museum of Photography, Wexner Center for the Arts/Columbus, Skirball Cultural Center/Los Angeles,
The National Art Center/Tokyo, Reina Sofia National Museum/Madrid, Museum of Contemporary Art, Tokyo.
1970 Born, Kagoshima, Japan

1993-2000 Art & Design, University of Tsukuba

2002 Awarded grand prize at the 5th Media Art Festival, Agency for Cultural Affairs, Japan

2009 Stayed in New York with a grant from the Agency for Cultural Affairs (-2010)
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source: sachikokodama

Enabling people to experience a strong aesthetic feeling is the main purpose of “Protrude Flow 2008.” This experience cannot be acquired in everyday life, and once experienced, can never be forgotten. People watch ferrofluid spikes reflecting light—like a mirror—being pulled up under a strong vertical magnetic field surrounded by white LED illumination, and see a mountain composed of many sharp sword-like spikes. The ferrofluid motion has been carefully designed to allow people to feel the exact timing of the movements, by making the liquid move very slowly, so that they begin developing expectations as to what will happen next. Fluid, much like living life, moves and breathes. The moment when many protrusions occur at once on the dark, lustrous, flat surface of the fluid is the central moment in this installation.
People’s experience upon seeing ferrofluid in a strong magnetic field is apparently different from seeing any “ready made” object, and “nonsense machines;” it is also different from seeing past phenomenon-art works. This work is meant to make us feel a new reality and materiality, based on similar virtual “surreal” images, especially computer generated ones, in such media as TV or cinema. Of course, the physical phenomena of gravity and magnetism is a very important component, but this work is not just a visualization of the unseen force, it rouses in us an unknown reality. This piece is an “artificial-nature” machine, created with a déjà vu feeling, and combines the physical phenomena with our imagination. It lies between substance and poetry and is as if a sword from some other space has cut into our ordinary existence. It also gives us a strong tactile sensation. In person, I sometimes see the ferrofluid spikes as a growing living sprout, and at other times, am reminded of the violence inherent in its existence.
Since 2000, when I started creating my own ferrofluid work, I have shown people not only the actual ferrofluid installation but also its images. People’s desire for imagery and existence has been a theme in my work. For this reason, I initially planned to use a digital camera to take high-speed images of the ferrofluid in a real exhibition, and project the same images onto a large screen. But later, I decided not to use the digital camera to make the installation simple, and allow people to experience the phenomenon with their own eyes. I removed the camera, and then designed a computer program that controls the ferrofluid very accurately and slowly in carefully planed sequences. The expression of time-based movement became radically abstinent.
The electromagnet has a simple straight geometry. It was selected for its metallic texture and color. Traditional Japanese gold papers were used as electromagnet covers. The combination of a strong and heavy magnet and the slow movement of the soft organic-shaped liquid make for a contrasting but restrained aesthetic expression.
Although not visible from the outside, I painted a coil of the upper electromagnet concealed inside the gold aluminum cover, black.

The actual installation differs from the original plan because of two reasons: technical difficulties and the reevaluation of the aesthetic. The original plan called an electromagnet weighing 24 tons, and it was turned down on the grounds that it was not practical. The final work shown at the “Machine and Soul” exhibition used an electromagnet weighing 4 tons. I made the basic design of the electromagnet in Japan with Japanese engineers, and then worked for several months with Spanish engineers over the Internet to develop the electromagnet in Spain.
The electromagnet is 2 meters high, and the thick steel pole circuit strengthens the magnetic field. The strength of the magnetic field at the center point between the two coils is about 1500 gauss (at 35 Amp DC). As magnetism decreases very quickly, there are no physical effects even if the audience is only a meter away from the center of the magnet. Ferrofluid is put inside a round thin container that is 7 cm and that has a diameter of 80 cm. The ferrofluid, upon the strengthening of the magnetic field via a DC control system, generates many spiky shapes in accordance with the law governing instability in a ferrofluid interface. Distance between the two coils can be adjusted using a jack located inside. Potentially, modifying the coil’s position and/or the computer program can change the movement, shape, and position of the ferrofluid.

By producing Protrude, Flow 2008, I hope to spread the idea of “Science and Engineering for Art and Culture.” Ferrofluid, the material used in my piece, was originally invented in NASA’s Apollo space program in the early 1960s, and now is widely used in the industry, for example for sealing applications in machines with rotary motion (for example, some silicon growth systems use ferrofluid). These high-tech materials are changing our industry, but they do not appeal to our every day lives as they are not visible; as such, these invisible materials are considered to not have any direct relationship with art. But I have noticed that if artists and designers are more exposed to these materials, we can cultivate a new future where art and science will have a mutual influence and mutual understanding, and it may so happen that new engineering methods would be developed for use in art, rather than for use in the military.
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source: scoopweb

Sachiko Kodama is a Japanese artist. She is best known for her artwork using ferrofluid, a dark colloidal suspension of magnetic nano-particles dispersed in solution. It remains strongly magnetic in its fluid. By controlling this black fluid with magnetic field, it can be shaped to create complex 3-dimensional forms. The shape will never be the same. People say Kodama’s works are “liquid sculpture”.
Kodama started her ferrofluid art project “ Protrude,Flow” in 2000. Her first interactive art work “Protrude,Flow” using ferrofluid was created in collaboration with Minako Takeno in 2001.” “Protrude, Flow”(2001) was exhibited at the SIGGRAPH 2001 Art Gallery and it was one of the most populer work at the conference. The same piece was exhibited at the Skirball Cultural Center in Los Angeles and also at the Mood River exhibition held at the Wexner Center for the Arts in Columbus.
In 2010 Kodama exhibited “Morpho Tower” and “Breathing Chaos” at Cyber Arts Japan, a media art exhibition hosted by the Museum of Contemporary Art, Tokyo. Matthew Larking described her work as “Sachiko Kodama’s small yet powerful piece “Morpho Tower” displays a seemingly organic life form, which is actually ferrofluid dynamically sculpted by electromagnets.”
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source: blogberiteinfo

Что может связывать такие в корне разные дисциплины, как физика и искусство? Казалось бы, ничего: редкий художник не плевался в школьные годы на уроках физики и математики. Однако японская художница (и физик по совместительству) Сачико Кодама (Sachiko Kodama) так не считает, и использует свои знания о магнитном поле для создания оригинальных инсталляций.

С 2000-х годов Sachiko Kodama начинает работать над серий инсталляций, материалом для которых служит ферромагнитная жидкость. Что же такое эта ферромагнтиная жидкость? Людям без специального образования это довольно трудно понять. Эта штука была изобретена в конце 60ых годов и используется главным образом в компьютерной промышленности.

Представьте себе глубокое блюдо с темной маслянистой жидкостью. Вы кладете под него небольшой магнит, и жидкость в блюде оживает, принимает вид перетекающей игольчатой фигуры, будто вот-вот выскочит из своей посуды.

Особенность ферромагнитных скульптур в жидкости, давшей им название. Ферромагнитная жидкость – это жидкость, сильно поляризующаяся в присутствии магнитного поля. Состоит она, грубо говоря, из органических растворителей и ферромагнитных частиц.
В нормальных условиях, если смешать оксид железа с маслянистой основой (органический растворитель), и приблизить смесь к магниту, то частички железа полетят и сложатся в совершенно неинтересные формы. Но в случае с ферромагнитными скульптурами, в смесь добавляют поверхностно-активные вещества, которые на приближении магнита реагируют вместе с частичками железа, и формируют эстетически приятную геометрическую форму.
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source: letramediacl

Esculturas magnéticas
La artista japonesa Sachiko Kodama ha revolucionado el mundo artístico con su nueva apuesta: el ferrofluido. Se trata de esculturas con campos magnéticos que interactúan con las partículas de ferrofluido gracias a la polarización de éste, como el efecto de dos imanes. La estructura está basada en unos espirales imantados, cuyo magnetismo es controlado por una pequeña computadora, los cuales van manipulando el movimiento de este líquido.

De esta forma, se produce un efecto muy particular que recuerda el efecto de una animación digital. Pero esto es real, y se puede ver en las exposiciones de Sachiko Kodama, donde es posible apreciar el suave movimiento de sus esculturas. Se trata de una experiencia única y sin precedentes en el mundo artístico, siendo un ejemplo más de cómo las ciencias duras pueden aportar al arte.

El origen de esta idea está en la formación profesional de Sachiko Kodama, quien ha estudiado no sólo artes plásticas, sino también diseño, informática, física y arte holográfico. La artista ha estado trabajando en este proyecto desde el año 2000, cuando conoció este material estudiando Computer Graphics and Holography. Ella nombró a esta serie líquida como Morpho Tower, la cual se compone en la actualidad por ocho piezas.

Sachiko Kodama destaca cómo sus esculturas han sido el punto de encuentro entre dos áreas aparentemente muy distintas: “Muchos científicos se han interesado también en mi trabajo, y me han pedido mostrar mi pieza en museos de ciencia o conferencias científicas, por lo que estoy mostrando mi trabajo en museos de arte y museos de ciencia al mismo tiempo”. LM
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source: designontherocksxpg

“Protude Flow” é uma obra feita com uma espécie de fluído de ferro manipulado magneticamente, para que fiquem sincronizados com músicas e sons, mudando suas formas. O projeto foi feito por Sachiko Kodama. Confiram fotos e vídeo demonstrativo da peça.