After Vincent van Gogh
Artist: Kenji Kojima, 2026
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After Vincent van Gogh Podcast / English



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• The Plum Garden at Kameido by HIROSHIGE
• The Good Samaritan by Eugène Delacroix
• Evening Shower at Atake and the Great Bridge by HIROSHIGE
• The 103,894 Pixel Colors from Starry Night were
Scattered Randomly. by Vincent van Gogh
• The 108,528 Pixel Colors from Wheatfield with Crows were
Scattered Randomly. by Vincent van Gogh


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作品概要：
現在、あらゆる情報はバイナリ形式で保存されています。プロジェクト「After Vincent van Gogh」は、ゴッホの作品タイトルに見られる「After」（d'après）という概念を用いて、イメージを解体・再構築することで新たな美意識の発見を提唱しています。単なる模倣や様式的な暗示にとどまらず、イメージの根底にある構造を解き明かすことを目指しています。ゴッホの記録によると、浮世絵版画の模写は「西洋絵画の文法を翻訳する実験」であると同時に、「自然と一体となる遠近法」を習得するための訓練でもありました。ゴッホの「After」と題された絵画は単なる模写ではなく、その根底にある構造を解き明かそうとする試みです。アーチストの小島はバイナリコードを、美術史の次の段階への架け橋として用いようとしています。現在、AIは過去のイメージの集合体としてイメージを生成しています。21世紀のイメージの根底にある素材は、顔料やメディウムではなく、バイナリの論理構造です。 AIのようにアサンブラージュやデジタル・ブラシによる描画によって画像を作成するのではなく、小島はデジタルの視覚情報を最も基本的な単位であるバイナリ（人間とのコミュニケーションでは通常用いられない概念）へと分解し、情報がどのように構造化されているかを観察し、次のステップへの道を切り開こうとしています。

アーティストの小島は、人間の感覚器官はフィルターのように機能し、視覚や聴覚といった特定の要素を周囲の混沌とし​​た世界から抽出し、それを構築すると考えています。私たちは、感覚器官と呼ばれるアルゴリズム的なフィルターを用いて、この混沌とし​​た世界を認識し、構築しています。

このプロジェクトは、デジタル時代のアート・ビジュアライゼーションにおける知覚と構造の概念を探求しています。この概念を表現するために、バイナリコードとアルゴリズムを用います。物質からデータへの時代の大きな変化は、バイナリを基本的な芸術的素材として捉えることを必要としています。小島は画像のピクセルをランダムに散りばめ、すべての色を分散させ、元のデータをバイナリ単位に置き換えます。ピクセルは4つのバイナリ値で構成されているため、画像は時間の経過とともに断片的でグリッチのあるアニメーションになります。人間が瞬時に認識できるようにプログラムされたコンピュータ画像とは異なり、このプロジェクトは、鑑賞者に二進法による時間の経過を目の当たりにさせます。前述の手法を用いて、ゴッホの模写3点、その原画3点、そして彼の後期の作品2点を分析し、映像を制作しました。背景音は、各絵画のピクセルの赤、緑、青の値を12音階に変換し、MIDIピアノの演奏で制作されました。このプロジェクトは、ゴッホが現代の観客にもたらした視覚的美意識を蘇らせることを目的としているわけではありません。ゴッホが「After」で見出した概念を、現代の二進法体系の中で解体、再構築、再検証することで、美術史における新たな美意識を切り拓こうとしています。

アーチスト・ステートメント：

2023年、生成AIが視覚芸術に急速に影響を与える中、アーティストの小島健治は、過去の具象絵画から既存のデータを収集するAIの活用という枠を超え、人間の芸術の可能性について考察し始めました。彼は、AIが人間とのコミュニケーションに活用できる、現在十分に活用されていないデータ構造を深く掘り下げました。浮かび上がったコンセプトの一つは、ワンタイムパッド暗号の活用でした。この手法は、2013年頃の彼のプロジェクト「Split/Merge AudioVisual」から着想を得ました。小島はこれを、ジョルジュ・スーラの点描画に似た視覚体験における色の混合に例えました。彼はまず、スーラの絵画の色彩を暗号化と復号化のために二つの領域に分割しました。小島は、絵画の暗号化機能によってスクリーン上に生成される色の粒子が、人間の目に知覚される色調に非常に近いことを観察しました。次に画像の二値性を維持しながら、絵画のピクセルカラーを画像全体にランダムに散りばめる手法を考案しました。さらに、人間が理解できる元の画像を復元する際には、「グリッチ」という概念を取り入れ、画像のバイナリデータが完全に揃うまで復元できないようにする手法を採用しています。

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Description:
 This video showcases the artist's programmed application works of new media.

Currently, all information is stored in binary format. The project "After Vincent van Gogh" aims to discover a new aesthetic sense by deconstructing and reconstructing images using the concept of "After (d'après)" found in Van Gogh's titles. This goes beyond mere imitation or stylistic allusion, seeking to break down the underlying structure of the images. Van Gogh's records reveal that his copying of Japanese ukiyo-e prints was an "experiment in translating the grammar of Western painting" and a training ground for mastering "perspective that is one with nature." Van Gogh's "After" paintings are not mere imitations but strive to unravel their underlying structure. Artist Kojima seeks to use binary code as an ideological link to the next phase of art history. AI currently generates images as an assemblage of previous images. The fundamental material of 21st-century images is not pigments and mediums, but rather a binary logical structure. Instead of creating images through assemblage or painting with a digital brush, as AI does, Kojima attempts to break down visual information into binary, the most basic unit of computing—a concept not typically used for human communication with generative AI—and observes how information is structured, paving the way for the next step.

Kojima believes that our human sensory organs act like filters, extracting specific elements like sight and hearing from the chaotic world around us and constructing them. We perceive and construct this chaotic world using algorithmic filters called our sensory organs.

This project delves into the concept of perception and structure in the realm of digital art visualization. It employs binary code and algorithms to convey this idea. The most significant transformation of our era, from matter to data, necessitates viewing binary as a fundamental artistic medium. Kojima randomly scatters the image's pixels, dispersing all colors and replacing the original data in binary units. Since pixels consist of four binary values, the image gradually becomes a fragmented, glitchy animation. Unlike computer images, which are typically programmed for immediate human recognition, this project compels viewers to witness the passage of time in binary units. The video was constructed using the aforementioned method to analyze three of the copy paintings of Van Gogh, three original paintings of them, and two of his later works. The background sound was created by converting the red, green, and blue values of each painting's pixels into a twelve-tone scale and playing them on a MIDI piano. This project does not intend to revive Van Gogh's visual aesthetic sense, which he introduced to modern audiences. Instead, by utilizing the same concepts Van Gogh discovered in his "After" and deconstructing, reconstructing, and re-examining them within the modern binary system, he aims to pioneer a novel aesthetic sense in the history of art.


Statement:
In 2023, artificial intelligence rapidly influenced visual art. Artist Kenji Kojima began contemplating the capabilities of human art, transcending mere AI use to gather data from past figurative paintings. He delved into data structures that AI could employ for communication with humans, structures that are currently underutilized. One concept that emerged was the utilization of a one-time pad cipher. This method drew inspiration from his project "Split/Merge AudioVisual" around 2013. Kojima likened it to the mixing of colors in visual experiences, akin to Georges Seurat's pointillist paintings. He first divided the colors in Seurat's paintings into two groups: encrypted colors and the decryption keys. Kojima felt that the color patterns generated on the screen by the painting's encryption function were logically very good results, but to the human eye, they always appeared to be the same color tone. While retaining the binary basis for the image, he devised a method to randomly scatter the pixel colors of the painting across the entire image. Additionally, during the reconstruction of the original image that humans can comprehend, he incorporated the concept of "glitch," employing a technique that prevents restoration until the binary data of the image is perfectly aligned.

Show: Kenji Kojima's Biography
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Kenji Kojima was born in Japan. He moved to New York in 1980 and began his artistic career. For the first 10 years in New York City, he painted contemporary egg tempera paintings using medieval art materials and techniques. He was strongly attracted to contemporary art but felt stuck in the future of modern civilization and art with excessive material value. He tried to experience the history of the creation of the European concept of art through actual materials and techniques, that is, the history of art that is not written in literature. He was particularly interested in the basic materials of painting, such as ground, pigment, and medium, rather than the visual theme. He noticed that as society developed, people's minds expanded, materials and tools advanced, and the visual arts changed. Citibank, Hess Oil, and others have collected his egg tempera paintings.

The personal computer improved rapidly during the 1980s. He felt more comfortable with computer art than paintings. Ecologically, he had felt guilty about wasting materials in the name of art. Working on the computer was clean, did not waste material, and made him feel lighter. In the early 1990s, he moved his artwork into the digital arts. He was particularly interested in developing interactive artworks. His early digital works were archived at the New Museum - Rhizome, New York. He studied computer programming himself. In 2007, he developed the computer software "RGB MusicLab" and created an interdisciplinary artwork that explores the relationship between images and music. He developed interactive software for his art, but soon ran into a big problem. The software would not run on the new operating systems. He recorded the artwork as a video while the software ran on the operating system. This is how he started using video as a documentary tool—by filming interactive software in motion. He started making videos, not only about programming art but also about ecological issues in art. His digital art series has been shown at media art festivals worldwide, including Europe, South America, the Middle East, Asia, and the USA.

After COVID-19, he could not go out to shoot a video, but he found numerous free archival artworks online. He has started a new series that interprets classic image data using binary numbers. Artist Kojima believes that the sensory organs construct the world by extracting only certain components from the chaos, such as visual and auditory information, like a filter. So we create our world with the "key" of the sensory organs as if we were deciphering a code. In 2023, "Bitwise Splitting and Merging of Pixels" began with the self-question, "With the development of generative AI, can we create visual art that is not an assemblage of past visual data? Currently, all media is recorded in binary form. This fact leads to the manipulation of color pixels using bitwise operations. He developed encryption and decryption projects based on classic paintings, as well as a binary interpretation of paintings. He developed encryption and decryption projects based on classic paintings, which is a method for deconstructing and reinterpreting color information. As he develops his digital techniques, he prioritizes reproducibility over ownership of his works. He believes that the focus should be on the infinite dissemination of digital art, rather than its ownership and control. Kenji Kojima Resume



Digital Art Exhibitions:
the USA: 2026-2025 The Wrong Biennale, Online & Offline / 2024 OtoZono at HEART, New York. / 2024 the New Media Art Space at Baruch College, New York. / 2024 All Street, New York / 2023, 2020 Torrance Art Museum, Los Angeles, USA. / 2023 THE ELASTIC MIND, BROWARD College, Weston, Florida. / 2023 SOJOURNER, New York, NY. / 2022 Asian American International Film Festival, New York, NY. / 2012, 2016 Light Year, Brooklyn, New York. / 2021 UNCG International Sustainability Shorts Film Competition, UNC Greensboro, NC, USA. / 2019 The Harold B. Lemmerman Gallery, New jersey City University, Jersey City, NJ. / 2019, 2016, 2015 Williamsburg Art & Historical Center, New York, NY. / 2018 The Exchange, Bloomsburg, PA. 2018 WhiteBox, New York, NY. / 2015 ACM SIGGRAPH Digital Arts Community. / 2014 MediaNoche, New York, NY. / 2008 AC Institute, New York, NY.
Europe: 2025 Internationales Digitalkunst Festival 2025, Stuttgart, Germany / 2025 ON SCREEN 2025, Vienna, Austria / 2025 OPEN NIGHTS FESTIVAL Vol.10, Thessaly and Lárisa, Greece / 2025 Selected in the TAA (The Art Association) TAA Open Call Video Competition 2025 Final Candidates (2024 YouTube Exhibition), Geneva, Swiss / 2024 Profusion of Colors, A.E. Corner, Galleria di Tirano, Viale Italia / 2024 Summer of Anthropocene, The New Museum of Networked Art, Cologne, Germany / 2024 DIGITAL VIDEO ART INTERNATIONAL STREAMING FESTIVAL 'The films of the Official Selection 2024', Season 3 & 5, Vienna, Austria / 2024 Technocene Berlin Templehof, Germany. / 2024 Open Media Art, Košice, Slovakia / 2025, 2024, 2023, 2022, 2020, 2019 Ie Rencontres Internationales Traverse, Toulouse, France. / 2021 FEX comtemporary media art, Cologne, Germany. / 2020 Institut für Alles Mögliche, Stützpunkt Teufelsberg, Belrin, Germany. / 2019 The festival BINNAR, Vila Nova de Famalicão, Portugal. / 2019 MADATAC X New Media Arts Festival, Madrid, Spain. / 2018 Athens Digital Arts Festival, Athen, Greece. / 2018 Mitte Media Festival, Berlin, Germany. / 2017 Simultan Festival, Timisoara, Romania. / 2016 Simultan Festival, Timisoara, Romania. / 2016 Brave New World Beyond the Wall, Berlin, Germany. / 2015, 2013 ESPACIO ENTER, Tenerife, Canary Islands, Spain. / 2014 BRAVE NEW WORLD, Berlin, Germany. / 2011 Jyväskylä Art Museum, Jyväskylä, Finland. / 2010 PROCESS Festival, Berlin, Germany. / 2009 RE-NEW Digital Art Festival, Copenhagen, Denmark. / 2002 Free Manifest, Frankfurt am Main, Germany.

Brazil: 2025, 2023, 2022, 2020, 2016, 2012, 2011, 2010 FILE (Electronic Language International Festival) São Paulo, Brazil. / 2012 FILE RIO, Rio de Janeiro, Brazil. / 2010 FAD (Festival de Arte Digital), Belo Horizonte, Brazil.
the Middle East: 2026 The Ras Al Khaimah Art Festival Biennale, United Arab Emirates / 2020, 2012 Istanbul Contemporary Art Museum, Turkey. / 2020, 2019 Paadmaan Video Event, Isfahan, Iran.

Asia: 2021 Thailand New Music and Arts Symposium, Bangkok, Thailand. / 2020 the 150th Anniversary Gandhi Event, Kolkata, India. / 2019 Capital Normal University College of Cape Cod, Beijing, China & China University of Mining and Technology Yinchuan College, Yinchuan, China. / 2018 Gunung Sunda Festival, Sukabumi, West Java, Indonesia. / 2016 CeC 2016, North-Eastern Hill University, Shillong, Meghalaya, India. / 2010 Contemporary International New Media Art Invitational, Wuhan University of Technology, China.

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