Akeroyd Collection


Takeshi Murata

b. 1974, Chicago, U,S.; lives and works in Saugerties, New York, U.S.

Takeshi Murata is an artist who explores a wide range of mediums and techniques, including video, animation, data-moshing and CGI. His practice revolves around the process of image-making and the concept of the digital afterlife. Murata's journey into glitch art began in 2003 after a failed video download. He is recognized as one of the pioneers of this artistic movement as a result but over time, his work has evolved to encompass hyper-realism and computer-simulated imagery, which he skilfully produces through a DIY process. Without access to Hollywood animation studio budgets, Murata honed his skills by immersing himself in instructional YouTube videos. Yet, despite their amateur origins, Murata's artworks exhibit uncanny interiors that resemble meticulously crafted digital sculptures. They evoke the aesthetics of online gaming and major animated motion pictures. More recently, Murata has delved into creating digital still lives that depict outdated technological remnants and symbols of mortality. These compositions are combined with miscellaneous objects like beer bottles, lemons, and VHS tapes. Employing CGI technology, Murata gives these objects a striking illusion of three-dimensionality, effectively producing contemporary Dutch vanitas images for the digital age. His creations invite contemplation on the process of image-making, the transience of technology, and the profound influence of the digital world on our lives.

Takeshi Murata recent projects include Visitors, Le Forum, Ginza Maison Hermès, Tokyo (2022); Monster, Svetlana, New York (2020); Dracula’s Wedding, RODEO, London (2019); Living Room, Yamamoto Gendai, Tokyo (2017); Infinite Doors, Empty Gallery, Hong Kong (2017); 1000 Years, Ratio 3, San Francisco (2016); Second Nature, Kasia Michalski Gallery, Warsaw (2016); Takeshi Murata Survey, Kunsthalle Stavanger, Stavanger (2015); Midnight, Ratio 3, San Francisco (2013); Synthesizers, Salon 94, New York (2012); and Layr Wuestenhagen Contemporary, Vienna (2008).

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