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"My work is about the echo chambers of memory - a perpetual feedback loop that creates consciousness. I use the symbols, images, and gestures that encode meaning and form the units from which we tell our stories, and that paradoxically both limit and expand human possibility."
Kasumi is an artist who works in a broad range of media: directing and producing short and feature length experimental films, performing live shows and VJ, creating looping electronic sculptures, designing motion graphics and animated gifs, producing immersive 360 virtual reality pieces and making fine art prints through glitch and data moshing.
Her distinctive and personal style has been recognized worldwide. In 2011 she was awarded The John Simon Guggenheim Fellowship for her groundbreaking experimental feature film Shockwaves.
Rent the Director's Theatrical Cut of Shockwaves here
Current works-in-progress include wearable electronic art, an app for mobile devices, and 4 new themed VJ performances.
Previously, Kasumi was a musician who performed twice at Carnegie Hall and who has recorded four LP albums; a designer, illustrator and painter, and a published author. While in Japan, her soundtrack performance of Oginsama was nominated for an Academy award. Her written work includes two published books, over 50 newspaper and magazine articles published worldwide.
Her work and performances enjoy a wide and diverse audience: from Lincoln Center with The New York Philharmonic to performances with Grandmaster Flash and DJ Spooky. BREAKDOWN, the 2010 Vimeo Remix Award winner, premiered at Carnegie Hall with the American Composers Orchestra. She has created works for the Cleveland Museum of Art, EMPAC (Experimental Media and Performing Arts Center), Instituto Superior de Arte del Teatro Colón, Buenos Aires, Württembergischen Kunstverein, Stuttgart; and her work also was featured at Art Miami, unpainted Media Art Fair, Munich, Museum of Contemporary Art, Krakow, Contemporary Museum Wroclaw, Itau Cultural Center, Sao Paulo, The Butler Institute of American Art, The Museum of Fine Art, Houston, Museu de Arte Moderna, Rio de Janeiro, San Diego Museum of Art, Chroma Festival de Arte Audiovisual, Mexico, and many others. A selection of her Perpetual Series is permanently installed in the historic grand opening of DC (Donau City) Tower 1 in Vienna’s Donaucity, Austria, and her work completed a tour of the major museums and art institutions of Poland. Selections of her work have been broadcast on France's La Télédiversité #Numero23 and she created animated GIF’s as well as a virtual reality 360 piece for The Eric Andre Show on Adult Swim.
Her honors, awards, and grants include:
Knight Foundation Grantee, 2016
Cleveland Arts Prize Mid-Career, 2014
MacDowell Fellow, 2014
Guggenheim Fellowship 2011
Creative Workforce Fellowship 2011
Vimeo awards: Best Remix, 2010
Vimeo Awards Jury member 2012
Int’l Short Film Fest Salento FinibusTerrae, Milan, Italy, Best Short Film, Musica/Danza Award 2007
Sapporo International Short Film Festival , Best Experimental film, 2006
IFP/Midwest Flyover Zone Short Film Festival, Chicago (First Prize, Experimental Film) 2001
Best Moving Image, Cleveland State University Gallery Biennial 2003
Athens International Film Festival, First Prize, Experimental Film, 2001
Black Maria Film Festival, Director’s and Program Staff Citation Selection, 2004
Cleveland International Film Festival 2000, 2001, 2002 Honorable Mention, 2005
Montecatini Terme Short Film Festival: The Adriano Asti Prize for the Best Experimental Work: 2003
Seoul Net & Film Festival, Seoul, South Korea, Special Jury Award, 2003
Dover Film Festival – Best Experimental Film, 2001
My work is about memory and the echo chambers of memory - a perpetual feedback loop that somehow creates consciousness. I use the symbols, images, and gestures that encode meaning and form the units from which we tell our stories, and that paradoxically both limit and expand human possibility.
My raw materials are clips of moving images culled from the scraps of mid-20th Century mass media, including B movies, television advertising, educational cinema and industrial films. These materials are at one and the same time the contents of electronic archives and the unconscious reservoir that feeds our current dreams.
My work exploits these cinematic clips at both micro and macro levels. At the macro end of this continuum, Shockwaves, my 80 minute looping installation, is constructed from over 27,000 discrete clips. Each clip is in itself a symbol, image, or gesture that collectively connect, branch, and recombine into the story of two lives, a story that eventually is revealed to be the inevitable result of the meanings embodied in each of the individual symbols, images, and gestures with which the characters have given meaning to their lives.
In contrast, the works in my Perpetual Series, represent the micro-end of my method, Each is a discrete, looping moving image that reminds us that the pieces from which we construct our current reality are already within us as the memories of movements, personalities, expressions, and gestures. The works’ simplicities hide complexities, the way fractals, by repeating a simple process over and over in an ongoing feedback loop, depict the infinitely complex patterns of reality. Still other works emphasize and integrate my raw materials through the use of circuit bending, electronic glitch, data moshing, and digital mashup.