Review: Artechouse’s digital cherry blossoms are dazzling — but lack the poignancy of the real thing
”Hana Fubuki,” which is featured in the main room at Artechouse during the “In Peak Bloom” show. By Mark Jenkins April 2 at 10:30 AM Inactivity is the essence of Artechouse, the high-tech D.C. art space that presents immersive, digital-age sound-and-light shows. Usually, visitors are able to get a reaction from the animated pixels that surround them simply by gesturing slightly or moving closer to the displays. The current show, “In Peak Bloom,” is a bit more touchy-feely.
Designed by Akiko Yamashita, a Japanese artist now based in Los Angeles, in collaboration with her sister, Sachiko Yamashita, and the Tokyo calligrapher known as Mikitype, the room is not unlike some previous Artechouse arrays of tumbling flowers and foliage. If the movements suggest choreography, that’s apt: Akiko Yamashita has a background in dance.
Japanese motifs continue along the corridor to the back room, known as the Media Lab. Lining the hallway are several screens — not video ones, but ones resembling the traditional wood-and-paper room dividers known as “shoji.” Visible through the translucent panels are shadows — simulated, not real ones — that evoke natural forms.
Immediately adjacent to this room is “Akousmaflore et Lux,” an interactive installation of plants by Grégory Lasserre and Anaïs met den Ancxt . Here, the vegetation is not artificial, but alive. When touched by skin — resulting in an electrostatic charge that travels to electronic sensors — the leaves seem to produce soft sound and light. Rougher handling yields harsher noises.
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