This work is an installation aimed at witnessing a place where awe is dismantled.

In the cave of the mining site, I made a sculpture using 4 huge super organza with a height of 13 meters and a width of 8 meters. A real-time fluid simulation using 8K projector is projected on its surface. Its appearance seems to be a gigantic creature that extends the tentacles. People are surprised, afraid, and stand up to its huge and irregular shapes.

However, after a few minutes, the attitude of the viewer changes by artist explaining "This work is only visualizing the wind". "The pattern projected on the cloth is a vector field of wind blowing on the spot, and this work is visualizing the wind itself with cloth movement and 8K video." Such a scientific explanation is made by the artist. Then, people understand it as a physical phenomenon, and conversion from the sense of awe to the impression "indeed" "interesting" “beautiful” begins.

But there is no sense of irregular feeling that people first felt, or feeling of awe. It was dismantled by scientific explanation. The lump of sensation with infinite possibilities people first sensed is scattered and can not be regained again. When we face unknown or irregular things, we fear them. However, once we feel "understood" by scientific explanation, they can be caught only as a scientific symbol.

As a technical aspect, this work aims to realize CG animation in physical space. The wind blowing on the spot is physically animated using the shape of the fluid cloth and the simulation image projected on it. By acquiring the shape of the organza with cameras and analyzing its curved surface shape in a trihedral view, numerical analysis is performed, and a vector field is generated inversely. In this calculation process, data of the micro controller for the electric fan is also used. The vector field generated here is projected to a 4-layer cloth through an 8K projector, and a vector field with immersive feeling with volume is generated.

In Zen temples, dragons are guardian gods and are considered to be creatures that bring rain of Buddhist Dharma to the monks. In this work, I challenge to depict a dragon that brings rain of Buddhism in a modern way by using nonlinear physical systems, digital imaging technology, and brain science-based sound. This work will be installed as a counterpart to Junsaku Koizumi’s Twin Dragons painted on the ceiling of the Dharma Hall of Kenninji Temple.

Another challenge is to submit a unique type of inheritance in the 2020s of the ancient Japanese aesthetic of "kasane," "utsushi," and "nazorae". What does it mean to depict Junsaku Koizumi’s "Twin Dragons" in Akira Wakita’s own way? After a thorough investigation, I decided that it was not simply a matter of processing a digital scan of Koizumi’s painting, but to depict the phenomena and principles behind the act of looking at the dragons, the presence of the scene. Also, as an homage to Koizumi’s technique, I projected Sumi (Japanese Black Paint) image on the screen and painted layers and layers of white particles on top of it, aiming to create colors, shapes, and movements that are neither simply white nor simply grainy, but have depth and breadth.

We may see a tripartite conversation across science, art, and religion in the phenomenon of a nonlinear dynamical system creating a dragon. The shift from "emptiness to completeness and from completeness to emptiness" created by a simple system resonates with the world of Zen, where all is one and one is all.

This sculpture was created with a prayer for freedom from time. In its creation, I drew inspiration from Einstein's concept of block universe theory and the following words he sent upon the death of his friend Michele Besso.

"Now he has departed from this strange world a little ahead of me. That means nothing. People like us, who believe in physics, know that the distinction between past, present and future is only a stubbornly persistent illusion" -- Albert Einstein

The bronze sections were created by measuring the winds blowing down upon Kiyoharu Art Colony, where this work is installed, and converting them into three-dimensional forms. The substantial pedestal uses Hirukawa stone from the Early Cretaceous period, approximately 70 million years ago. This work holds the coexistence of past, present, and future time. And it is also my future grave.