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Backstage

June 2025

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I had a discussion with Professor Kuniyoshi Sakai, a neurobiologist at the University of Tokyo Graduate School, about AI and art. In conclusion, AI is far removed from the nature of the human brain and cannot convey emotions, impulses, or a sense of life.  It is impossible for AI to create art. Bach and Picasso did not create works by organizing information. The interview took place at Ekoin Temple in Tokyo. 

I had a discussion with Professor Kuniyoshi Sakai, a neurobiologist at the University of Tokyo Graduate School, about AI and art. In conclusion, AI is far removed from the nature of the human brain and cannot convey emotions, impulses, or a sense of life.  It is impossible for AI to create art. Bach and Picasso did not create works by organizing information. The interview took place at Ekoin Temple in Tokyo. 

At the Tokyo National Museum, I conducted workshop with sixth graders from all over Japan. The wrinkles that form when you crumble washi (Japanese mulberry paper) may look the same at first, but the works that are created from them are all different. I feel a strong mission to make children aware of this importance. The facinating nature of diversity and the development of problem-finding skills are some of the most important skills in primary education.

At the Tokyo National Museum, I conducted workshop with sixth graders from all over Japan. The wrinkles that form when you crumble washi (Japanese mulberry paper) may look the same at first, but the works that are created from them are all different. I feel a strong mission to make children aware of this importance. The facinating nature of diversity and the development of problem-finding skills are some of the most important skills in primary education.

We are adjusting the lighting for a piece that will be permanently installed at the Nara National Museum. Two large works were acquired to commemorate the 130th anniversary of the museum history. The waterfall piece was inspired by the Tang Dynasty treasures of the Shosoin Repository, which has a deep connection to the museum. When you look out from inside the waterfall, you see the colors of ungensaishiki, the technique used in Tang Dynasty. In the center of this photograph is an executive director of the museum, Mr. Inoue Yoichi.

We are adjusting the lighting for a piece that will be permanently installed at the Nara National Museum. Two large works were acquired to commemorate the 130th anniversary of the museum history. The waterfall piece was inspired by the Tang Dynasty treasures of the Shosoin Repository, which has a deep connection to the museum. When you look out from inside the waterfall, you see the colors of ungensaishiki, the technique used in Tang Dynasty. In the center of this photograph is an executive director of the museum, Mr. Inoue Yoichi.

The other permanent piece at the Nara National Museum depicts the Mikurodo Cave, where Kobo Daishi came to call himself Kukai.  Nara Natioal Museum is one of the centers for Buddhist art. From the left are Dr. Joshua Walker, president of the Japan Society of New York, Mr. Hiroyuki Shimatani, president of the National Institutes for Cultural Heritage and executive director of the Sannomaru Shozo Museum at the Imperial Palace, myself, Dr. Chase Robinson, executive director of the Smithsonian's National Museum of Asian Art, and Dr. Frank Feltens, a curator and expert on Japanese paintings at the museum.

The other permanent piece at the Nara National Museum depicts the Mikurodo Cave, where Kobo Daishi came to call himself Kukai.  Nara Natioal Museum is one of the centers for Buddhist art. From the left are Dr. Joshua Walker, president of the Japan Society of New York, Mr. Hiroyuki Shimatani, president of the National Institutes for Cultural Heritage and executive director of the Sannomaru Shozo Museum at the Imperial Palace, myself, Dr. Chase Robinson, executive director of the Smithsonian's National Museum of Asian Art, and Dr. Frank Feltens, a curator and expert on Japanese paintings at the museum.

Celebrating at the 50th anniversary concert of my young sister, violinist Mariko Senju, with my young brother and a composer Akira Senju. For this concert, I created a full-length video work to accompany the music and projected on a large screen. The video is my original work that uses digitally moving images from my paintings, like what I did at the opera "The Magic Flute",  which was perfomed last year.  Other digital works have been used for major events such as the opening ceremony of the Aichi Expo, the opera "Yuzuru," Japanese dance masters Yachiyo Inoue and Jusuke Hanayagi, Tamasaburo Bando's performance, and Sayuri Ishikawa's concert.

Celebrating at the 50th anniversary concert of my young sister, violinist Mariko Senju, with my young brother and a composer Akira Senju. For this concert, I created a full-length video work to accompany the music and projected on a large screen. The video is my original work that uses digitally moving images from my paintings, like what I did at the opera "The Magic Flute",  which was perfomed last year.  Other digital works have been used for major events such as the opening ceremony of the Aichi Expo, the opera "Yuzuru," Japanese dance masters Yachiyo Inoue and Jusuke Hanayagi, Tamasaburo Bando's performance, and Sayuri Ishikawa's concert.

I had a discussion with Professor Kuniyoshi Sakai, a neurobiologist at the University of Tokyo Graduate School, about AI and art. In conclusion, AI is far removed from the nature of the human brain and cannot convey emotions, impulses, or a sense of life.  It is impossible for AI to create art. Bach and Picasso did not create works by organizing information. The interview took place at Ekoin Temple in Tokyo. 
At the Tokyo National Museum, I conducted workshop with sixth graders from all over Japan. The wrinkles that form when you crumble washi (Japanese mulberry paper) may look the same at first, but the works that are created from them are all different. I feel a strong mission to make children aware of this importance. The facinating nature of diversity and the development of problem-finding skills are some of the most important skills in primary education.
We are adjusting the lighting for a piece that will be permanently installed at the Nara National Museum. Two large works were acquired to commemorate the 130th anniversary of the museum history. The waterfall piece was inspired by the Tang Dynasty treasures of the Shosoin Repository, which has a deep connection to the museum. When you look out from inside the waterfall, you see the colors of ungensaishiki, the technique used in Tang Dynasty. In the center of this photograph is an executive director of the museum, Mr. Inoue Yoichi.
The other permanent piece at the Nara National Museum depicts the Mikurodo Cave, where Kobo Daishi came to call himself Kukai.  Nara Natioal Museum is one of the centers for Buddhist art. From the left are Dr. Joshua Walker, president of the Japan Society of New York, Mr. Hiroyuki Shimatani, president of the National Institutes for Cultural Heritage and executive director of the Sannomaru Shozo Museum at the Imperial Palace, myself, Dr. Chase Robinson, executive director of the Smithsonian's National Museum of Asian Art, and Dr. Frank Feltens, a curator and expert on Japanese paintings at the museum.
Celebrating at the 50th anniversary concert of my young sister, violinist Mariko Senju, with my young brother and a composer Akira Senju. For this concert, I created a full-length video work to accompany the music and projected on a large screen. The video is my original work that uses digitally moving images from my paintings, like what I did at the opera "The Magic Flute",  which was perfomed last year.  Other digital works have been used for major events such as the opening ceremony of the Aichi Expo, the opera "Yuzuru," Japanese dance masters Yachiyo Inoue and Jusuke Hanayagi, Tamasaburo Bando's performance, and Sayuri Ishikawa's concert.