Multimedia artist / Scenographer
The Berlin-based Japanese scenographer and multimedia artist Yoko Seyama specializes in spatial time-based art. Her background is architecture and performing arts. Her works combine digital elements with natural materials, which she is working into mutating spaces in Public Spaces, Theaters, Museums, Galleries. Light is one of her primary materials.
Her installations have been exhibited throughout the world, Zentrum für Internationale Lichtkunst Unna, EVI LICHITUNGEN Hildesheim (DE), LUMINA Festival of Light (Cascais, PT), Lighting Guerrilla Festival (Ljubljana, SL), Vilnius Light Festival (Vilnius, LT), Wood Street Galleries (Pittsburgh, US), STRP, TodaysArt, SonicActsXIII (NL), Pola museum Annex, Todays Art (JP), Bangkok Citycity Gallery, MAIIAM (TH) and many others.
Her scenographic works often include light and kinetic sculptures. She has collaborated with various choreographers, directors, and composers: Jiří Kylián (Nederlands Dans Theater), Dirk P Haubrich, Jean-Philippe Dury (Leipzig Ballet DE), Giorgio Madia (Grand Theatre Łódź PL), Gentian Doda (Berlin Staatsballet DE), Iván Pérez (Dance Theatre Heidelberg DE), Fernando Melo (Norrdans SE, National Dance Company Wales UK), Megumi Nakamura (New National Ballet of Japan), Armen Hakobyan and Denis Untila (Aalto Ballet Essen DE), Roberto Scafati (Theatre Trier, DE), Raimondo Rebeck (Astana Opera, KZ), Lesley Telford (Les Grands Ballets Canadiens de Montréal), Benjamin Staern and others.
She holds an MA in ArtScience from the Royal Academy of Art in The Hague, and a BA in Architecture from Musashino Art University, Tokyo. She has received a grand from Pola Art Foundation (JP).
Jitti Chompee /18 Monkeys Dance Theater
Gentian Doda / Staatsballet Berlin
Pedro Goucha Gomes / Korzo Theatre
Jean-Philippe Dury / EBB Dance Company, Leipzig Ballet
Armen Hakobyan and Denis Untila / Aalto Ballet Essen
Frankie Ho / Hook Dance Theater
Iván Pérez / Dance Theatre Heidelberg
Jiri Kylian / NDT
Giorgio Madia / Grand Theatre, Łódź
Raimondo Rebeck / Astana Opera
Roberto Scafati / Theatre Trier
Lesley Telford / Les Grands Ballets Canadiens de Montréal, CND 2
LUNA - Urban Night Adventure (Leeuwarden, NL)
Artistree Taikoo Place (HK)
Vilnius Light Festival (Vilnius, LT)
LUMINA Festival of Light (Cascais, PT)
OBLIK (Berlin, DE)
Svetlobna Gverila, Lighting Guerrilla Festival (Ljubljana, SL)
EVI LICHITUNGEN International Light Art Biennale (Hildesheim DE)
Unfolding Kafka Festival, Bangkok Citycity Gallery (Bangkok TH))
MAIIAM Contemporary Art Museum (Chiang Mai TH)
Visual Art Week, Argentina (Buenos Aires, AR)
Gallery2 (Berlin DE)
ACUD Berlin (Berlin DE)
TodaysArt. JP, Kobe Art Village Center (Kobe JP)
TodaysArt. JP, Terrada warehouse 'Plane Scape' (Tokyo JP)
Annex exhibition, Pola Museum Annex Gallery (Tokyo JP)
Artifact Festival, STUK 'Plane Scape' (Leuven BE)
Wood Street Galleries (Pittsburgh USA)
Zentrum für Internationale Lichtkunst (Unna DE)
Platform 57 'Plane Scape' (The Hague NL)
5Mm | vijf minuten museum (Eindhoven NL)
Scopiton Festival (Nantes France)
E-pulse festival in Breda (Breda NL)
KAAP Fort Ruigenhoek (Utrecht NL)
STRP Festival, ‘Transient Landscapes’ (Eindhoven NL)
Filmhuis Workspace 10, ZAAL5 (The Hague NL)
TodaysArt 2010 Den Haag (The Hague NL)
MediaLab Enschede ‘Lightwork #6: In Soil' (TETEM Enschede NL)
SonicActsXIII (Netherlands Media Institute NIMk, Amsterdam NL)
E-pulse festival in Breda (Breda NL)
TransNatural, Multiplexart ‘Gardening’ ( Trouw Amsterdam NL)
'Med!aphosis' (Gallery Dom omladine, Belgrade, Serbia)
My ideas often come from material that can be natural or industrial.
I observe the material to discover unique characters. I consider how the material could turn into shapes.
Then I must figure out the best way to visualise these unique characters.
Another material is light.
Light is not only to make objects visible but it becomes a material itself.
However, light always needs another material to be visible.
The combination of light and other materials brings me various characters of visibility.
Light controls the perception of the eyes, where something becomes visible, arises, and where not visible, the invisibility and the imaginary arise.
I must see not only the objects themselves but also the spaces that complete their atmosphere and the environment.
Transforming the original space into another world is almost like creating an illusion.
The use of theatre technologies offers many opportunities for movement.
The theatre perspective focuses on one direction towards the viewer.
For other space, however, it offers more choice of interactivity and accessibility.
I have to imagine the flow of movement of the viewers because they perceive the space from different directions.
I don't use languages or concrete objects that remind us of existing images.
Space must be poetic that gives the public fantasies.