Intangible #form explores the theme of making the intangible tangible. The carefully choreographed performance uses 660 kinetic red light laser beam modules and abstract soundscape to create a highly-immersive effect. In this work, Fujimoto aims to generate the essence, presence, and behavior of life.

Regardless of where visitors are from, what language they speak, or who they are, Fujimoto believes that through this experience anyone can feel a connection to all living beings of the past, present and future. We are all part of the cycle of life and death, united by a universal sense and basic instincts. As visitors focus on having a pure sensory experience, Fujimoto hopes that they will connect more deeply with what it means to be alive.

intangible #umbra consists of an array of 72 laser modules synchronized with projected real-time visuals that are then augmented by a mirrored floor surface.

With this piece, Fujimoto is focusing on the relationship of computer generated graphics and the physical optical axis of the laser modules. The interplay of the absence of light and shadows acts as a dimensional extension of the visuals that are seen here. Fujimoto is constructing shadows by utilizing the physical elements juxtaposed with the abstract elements of the graphic content.

density compression is Fujimoto's visual experiment exploring the movement and placement of particles within a structure through the manipulation of a mathematical formula. Though Fujimoto does not consider himself a mathematician, he is manipulating different "ingredients" of a formula to explore various, often surprising, visual results. He is interested in unraveling the formula to understand the individual components and see how they affect the overall result. This also ties to a key concept he explores: that multiple components make up a greater whole.

The five monitors of dynamic light statics create a stark environment for Fujimoto’s experiment.  The monitors show a particle based environment in which Fujimoto introduces various lines of light that obey physical constraints.  At times the experiment will enter a “stilled” state during which, the environment created by static analysis, is then analyzed in a planar fashion similar to how a two-dimensional plan view is used to analyze a physical structure..

Through this process, Fujimoto is able to find previously unseen visuals and data hidden “behind” the structure. The process is ultimately self-iterative, as the computer is analyzing a random structure created by the computer to begin with. What we are left with is an infinite display of the generated lines emerging from the different automated analytical methods.

power of one #empty explores how a line and bright light can create and define space. It aims to recreate emptiness in 2-dimensions. To our eyes, the cube is always there as a solid shape that looks to be 3-dimensional, but it is in a constant state of creation. The projection and the cube drawn by the laser are linked and programmed to display simultaneously. The intangible cube that is constantly being created by the laser mimics the repeating cycle of life.

Light helps define the space around us as it bounces off of the objects we see. In power of one #empty, Fujimoto gives us the chance to observe our environment and structure of light, asking us to focus on how we experience the world using the physical properties of light.

power of one #surface consists of two lasers, two rotating one-way mirrors, two stationary parallel one-way mirrors and two motors; all set up on the right and left to be vertically symmetrical. The work capitalizes on the nature of the mirror, reflective on one side and transparent on the other to create its visual effect: the right and left sides of the artwork show reflections of each other. Conventional mirrors transmit light, where the mirrors Fujimoto uses capture it and hold it. This means that the light does not bounce away from the mirror but is visible within its surface. Each side operates on the same time axis and reflects its behavior.

The image emitted from the laser toward the fixed mirror highlights the tangled quality of substanceless, intangible space, where mirrors create a cycle of multiplication and disappearance. This idea of intangibility is further developed by the view and behavior of the two sides changing according to the position of each viewer. Through movement of each component, power of one #surface incorporates the compression and dilation of time, as if the past and future were coming and going, crossing each other's paths.

power of one #extrude uses a single laser projector and an apparatus composed of ten motors and individual strips of one-way mirrors. The ten motors are embedded in the apparatus, and thin one-way mirror strips are attached to the tip of each motor. Each of the strips has its own independent time axis, rotating at a different speed. The RPM (revolutions per minute) of each motor differs due to discrepancies in their internal structure. Instead of seeing that as a flaw to fix, Fujimoto chose to use those discrepancies as a variable incorporated into the work itself.

The abstract image emitted from the laser projector is thrown perpendicularly against the rotating mirrors by the two square mirrors, which are arranged parallel to one another. The image too has its own time axis, like a life form, and periodically changes in appearance. Through this construction the artwork creates a self-contained, endless space that showcases a complex network of relationships. Within that space, one can see the radiant laser lines, as well as fragments and reflections creating patterns and repetition.