Takeshi Murata and Christopher Rutledge continue their playful investigation of both the sharp-edged hyperrealism of commercial CGI and its oozing, anarchic breakdown in Larry, which propels its titular character—a droopy-eyed canine baller—through a series of increasingly bizarre and messy...
In Monster Movie Murata employs an exacting frame-by-frame technique to turn a bit of B-movie footage (from the 1981 film Caveman) into a seething, fragmented morass of color and shape that decomposes and reconstitutes itself thirty times per second.
In Untitled (Pink Dot), Murata transforms footage from the Sylvester Stallone film First Blood (1982) into a morass of seething electronic abstraction. Subjected to Murata's meticulous digital reprocessing, the action scenes decompose and are subsumed into an almost palpable, cascading digital...
In Timewarp Experiment, Murata applies a simple temporal manipulation to a piece of found footage, to uncanny effect. Digitally slowing the opening credit sequence from the 1970s' TV sitcom Three's Company, Murata creates a strange, hypnotic flow of movements and arrested gestures that unfold in...
In Takeshi Murata's video, in collaboration with Billy Grant, computer generated scans are utilized to recreate his every day environment in high tech 3D. The video starts in his studio, where his computer, desk and chair are “haunted” - dissolving and reforming in a myriad of mirrored shapes,...
With this abstract digital video, Murata presents viewers with a field of seething colors and line, within which a suggestive, Rorschach-like formation manages to retain its structure even as it is in a constant state of flux. The mesmerizing tableau that results is accompanied by a cyclical,...
Rhythmically departed from Murata's usual assertive cadence, No Match employs footage from the 1980's game show, Classic Match. The seamless loop of an unyielding contestant's ineptness solidifies as an almost cruel experiment, as the stretched time limit imprisons him in a fruitless guessing game....
Asep is young religious Sundanese Moslem man. He lives with his father who still works as a shaman in his village. When his father accepts more people who need spiritual, a mysterious man appears in Asep’s dreams.
In OM Rider, Takeshi Murata deftly weaves the aesthetics of retro-noir, video games, and Italian giallo film into a cinematic exercise in cool, narrative minimalism and distilled rebellion.
In Silver, Murata subjects a snippet of footage from a vintage horror movie (Mario Bava's 1960 film 'Mask of Satan', featuring Barbara Steele) — to his exacting yet almost violent digital manipulations. The seething black and white imagery constantly decomposes and reconstitutes itself, slipping...
Melter finds Murata applying his deft touch with image-making software to questions of fluidity. Exploring formal tropes of melting, rippling, and bubbling, Murata's abstract experiment in hypnotic perception is at once organic and totally digital.
In this animated video Shiboogi, American artist Takeshi Murata transforms TV commercials from the 1980s that he had discovered by chance in a record store in Japan. Just as commercials pop up on television screens for 30 seconds and then fade from memory, the imagery used by Murata pixelates and...
Infinity Doors draws on the determined staying power and unremitting stimulation of prize-oriented game show culture. Utilizing clips from The Price is Right, Murata edits a kinetic series of prize unveils. Unrelenting audience applause and an excessively animated announcer make the clip at once...
