Motoaki Tojo, a Japanese artist, works at the intersection of music theory and visual arts, constructing a unique artistic language that blends photographic techniques with the structure of musical composition. Tojo’s works might feel almost like a private dialogue between music and image, each piece inviting viewers to explore the rhythmic and layered qualities of visual motifs in much the same way they might listen to a carefully composed score. This dialogue between sound and sight lies at the heart of his creations, evolving as he redefines motifs and layering to reach nuanced compositions that challenge traditional artistic boundaries.
In “A1,” Tojo introduces an approach where photographic works mirror the function of musical scores. This connection echoes the philosophy of Ansel Adams, who likened the negative to a musical score and the print to a performance. Much like a piece of music can be played multiple times with subtle differences, Tojo’s visual scores encourage interpretation. The motifs in “A1” vary, presenting familiar elements with new layers, inviting viewers to “play” with the possibilities and interpretations of the image. By layering motifs and allowing for differing interpretations, Tojo allows viewers to see and experience a sense of tempo and rhythm, just as they would in music. These photographs, in a sense, are not static but alive, capturing the rhythm and movement that Tojo orchestrates through intricate arrangements of motifs.
The piece “A2” takes Tojo’s idea a step further by focusing on a single motif, developed from a smaller concept into a larger work. The artistic process for “A2” mimics contrapuntal expressions found in classical music, where independent musical lines intertwine to create a rich texture. In Tojo’s case, however, the lines are not musical notes but visual elements that come together to form a balanced composition. This approach contrasts with “A1,” where motifs overlap and interact more fluidly. With “A2,” Tojo instead uses a single, consistent element that mirrors the simplicity and clarity of a solo in music, guiding viewers to concentrate on one “note” while it transforms within the piece. This controlled, focused approach to motif-building allows the viewer to appreciate each change in perspective, just as a listener might in a counterpoint section of a classical symphony.
“A3” shifts the conversation further into exploring the contrapuntal techniques in visual art, reminiscent of artist Paul Klee’s work. Klee, known for integrating musical elements into his visual compositions, has influenced Tojo’s exploration of how visual art can adopt musical theories. In “A3,” Tojo experiments with layers of visual contrast and counterpoints, asking what it means to create depth and dialogue within a two-dimensional image. This work brings viewers a suggestion from Tojo himself, posing the question: how can visual arts embrace musical counterpoints, blending and contrasting elements in ways that feel almost symphonic? His exploration becomes an invitation for viewers to reflect on rhythm and texture in a visual context, looking at each layer as a note or a chord, contributing to a larger “symphony” within the piece.
Through these works, Tojo is creating not just visual art but an evolving, interactive experience. Like classical compositions, his artworks possess their own kind of harmony, dissonance, and resolution, inviting viewers to interpret and re-interpret. Each piece becomes a suggestion, a “score” that prompts an individual visual performance for each viewer who engages with it.
