にほひ
- 色と香りの共感覚 -
空間インスタレーション (2023)
マスター調香師・クリストフ・ロダミエルと嗅覚アーティスト上田麻希のコラボレーション
期間: 2023年10月15日(プルミエ)〜11月15日
会場: スペルノヴァ川崎 オープニング企画展
協賛/制作: BÉLAIR LAB
BÉLAIR LABのチーフ調香師、クリストフ・ローダミエルが開発したスペルノヴァ川崎のシグネチャーフレグランス「FADE-IN」を、嗅覚アーティストの上田麻希がビジュアル化したコラボレーション作品です。
フレグランスはたいてい、様々な「相(ファセット)」から構成されています。 それをクロマトグラィー(複雑な混合物を分離して、個々の要素を見る技術)にかけてみると、より興味深くなり、完全に理解することができます。私たちは、体験者の理解をうながし、さらに情動の領域を広げるために、嗅覚的・視覚的にFADE-INの相と遊んでみました。
床一面に敷きつめられた香りの彫刻のような折り紙の花は、液体プールから和紙を通して香りを拡散させます。 クロマトグラィーのように、香りの成分をフレッシュな面(フェーズ)とダークな面に分離し、それぞれが色で表されます:
[CYAN] ライト/クリーン/ラウドな面:新鮮な空気、緑の葉のアコード、アブストラクト、ミュゲ...
[MAGENDA】ダーク/レジーナス/センシュアルな面:アンバー・ラブダナム、パチョリ、フランキンセンス、イモーテル、ミモザ樹脂、ストロベリー
約一週間かけて行われるクロマトグラフィーの結果、花はそれぞれの香りの面に対応する色に染まります。色が匂いを視覚化するのです。 常に変化するインスタレーションで、明るい面(シアン)は暗い面(マゼンダ)よりも速く動き、速く乾燥することを示している。
ある片隅では、ある花がある面を奏で、別の隅では、もう一方の面を演じる花もある。社会もまた、集団、文化、行動を定期的にクロマトグラフィーし、声明や肌色によって分けて分離されてます。この作品では、クロマトグラフィーにおいて、あるいは社会において、そして香りにおいて、しばしば置いてきぼりにされる暗い部分が前面に押し出されます。クロマトグラフィーで最初に出てくる、そして社会において香りにおいて騒々しく目立つ部分、音楽でいえば軽やかな高音の部分が、目立たない側に置かれ、それを花が和らいでくれます。
もともと「におい」は、共感覚的なことばでした。古語の「にほひ(丹秀ひ)」は、赤やピンク、朱色の、ふわっとした視覚的な神々しさを指します。「丹」は赤い水銀の原鉱石で朱砂とも呼ばれ、神社の鳥居の塗装に使われました。この作品は、現代に生きるわたしたちに、いにしえの共感覚を問いかけます。
会場名「SUPERNOVA」は、超新星を意味します。超新星の美しい色どりもまた、大気のクロマトグラフィーを視覚化したものです。これらの小さな花ひとつひとつが、新しい星(スター)の誕生、SUPERNOVAを表しています。
SYNTHESIZE THE SMELL OF ROSE
2023 @ KUALA LUMPUR, MALAYSIA
Olfactory Design Lab is a collaboration between FabCafe KL and Scent Artist Maki Ueda, with the general goal to research and consider the sense of smell as a medium for communication. Up until recently, design research, including user experience, has always been heavily focused on the sense of vision. However, as digital trends continue to grow in increasingly creative ways, other bodily senses, such as smell and touch, have become key interest areas for those keen to engage with users in a more material and embodied sense.
Maki Ueda now holds over a decade of teaching and exhibiting experience based on the topic of smell and art. Since 2009, she has held a teaching position at the Royal University of the Netherlands, conducting the world’s first and only “olfactory art” course. In this workshop, we breaking down the scent of a rose and then re-constructing our own rose scent!
PEATIX:
https://peatix.com/event/3528572/view
VIEW THE WHOLE ALBUM:
https://www.flickr.com/photos/fabcafe-kl/albums/72177720308391400
2018 @ Fabcafe TOKYO, JAPAN
2018@ Keio University SFC, Japan
2018 @ Fabcafe HONG KONG
CONTACT
Maki Ueda is currently based in Ishigaki Island, Okinawa Japan. Travels back and forth between Ishigaki and Tokyo, and overseas.
Annual digest of workshops and exhibitions: please sign up for my newsletter mailing list
If you want to follow my announcement: please "follow" my facebook account, or instagram
Offers for exhibitions, lectures, and workshops: Please send me an email. for If you don't get any response from me for a couple of days, please don't hesitate to call me +81-90-7711-6005 (FaceTime/whatsapp) or reach me via SNS.
Need advise on extraction technique? There will be advisory fee charged: visit this page
If you are interested in internship: we are full right now.
Please feel free to reach out if we seem like a good fit to collaborate!
現在石垣島を拠点にしており、2〜3ヶ月に1度東京〜海外へ行っています。
年間ダイジェスト: メーリングリストにて1年間を振り返り、展示やワークショップについてまとめてお送りしています(英語)。
展示などの告知: Facebook をフォローするか、instagram をご覧ください。
講演・執筆のご依頼:メールの後、直接お電話ください。
展示のご依頼(アート関係):メールの後、直接お電話ください。ご予算に合わせて対応させていただきます。
展示のご依頼(アート関係以外:広告関係、カフェ関係、その他企業ショールーム関係など):お電話にてご相談ください。事前に以下の要件を明記したメールをいただければ助かります:時期、予算、企画の概要等。過去プロジェクトに関してはこちらをご覧ください。こちらのページへ
香りの抽出に関する技術的な質問や、個別アドバイス: 有料にて承っています。こちらのページへ
インターン志望の方: 現在はいっぱいです
お電話いただく場合、お約束の必要はありません。常識的な時間帯であればいつでもお電話をくださいませ。
email: olfactoryart [@] gmail.com
phone: +81-90-7711-6005 (FaceTime/iMessage/WhatsApp)
atelier HP (Olfactory Art Lab): http://www.pepe.okinawa
Facebook: http://www.facebook.com/maki.ueda
Twitter: @makiueda
Instagram: @makiueda
blog[EN]: http://olfactoryart.blogspot.com
blog[JP]: http://witch-lab.blogspot.com
NOTE[JP]: http://www.note.com/makiueda
FAQ
Here are some extracts from the past interviews.
October 2018, in Hong Kong:
> 1/ Have you been to HongKong?
Yes, the first time was about 20 years ago. The second time was about 2 years ago.
> 2/ Do you have any impressions or ideas about the smell of Hong Kong?
Yes and no. I smell something similar to the whole Chinise cultural area like Singapore and Shanghai, so they might not be specific to HK much. Also I smell the sewage everywhere. This is often the case in the big cities. Olfaction is very personal and I’m just a visitor. You might know it better if you live in HK.
> 3/ As we know, you have been involved some art project which related to City, Can the fragrance be used as an angle to understand and observe a city?
Yes and no. It’s too easy to generalize that the scent “A" is something specific to HK. It might be the case in the other cities too. We live in the best time of mobilization ever. It makes us harder to find the “original” and “characteristic” scents of the cities. That’s why people like making questions such as “What’s our unique scents in this city?” I guess. In my art projects I’m showing this dilemma and contradictions.
October 2014, Interviewer: Camilla Maurer
> What meaning does smell have for you?
It's simply a medium for me.
> Can you tell me about a situation where scent was important for you. (Childhood)
I was composing a pot-poulli as a hobby. It was trendy in the herb scene in Japan. That was my first introduction to composition.
> Do you experience visual dominance?
Yes. For smelling the visual over-rules everything too.
> From which discipline are you coming?
Informatica and media study.
> Was there a situation in your life, when you decided to use the sense of smell as a medium for your art?
A couple of years after I gave a birth, I started olfactory art.
> How do you handle the problem of not having precise words with which to discuss smell or scent? Or do you think Nederlande or Japan are more precise words for smell? Explain in detail.
I don't find that smell is special in that sense. To discuss about sound or light, it's also difficult to say if we have the precise words for them. The sensation is very personal.
> Which was your first olfactory smell-work you realized? Was war deine erste Geruchsarbeit die du realisiert hast?
Menu for the Nose.
> Does your work have a common main theme? I meen you starded with cultural themes, cities, victims , scent of lands, japanese woman, labyrinth...
> No, every work is different.
> Do you think that knowing about smell helps us know more about the world? Is knowledge power in your definition?
Certainly. Your perspective becomes totally different if you start exploring the world by the olfactory sense.
> Hypothesis: Do you have an Idea why in the 21. Century Artists decide to work with smell?
I think many artists also worked with smell in the 20th century, like The Futurist and Duchamp. Not a very new thing for the artists.
> Which possibilities and constraints do you see in working with smell?
We cannot preserve the work like a sculpture. Therefore we cannot "sell" the work. That keeps the art-form alive and vibrant.
> If you could invent a system to make categories for “good” and “bad” smell, what would it look like? What meaning does smell have in belgien culture, particularly in your City?
I think again it's very personal... but if I would, "physically accepted" or "physically not accepted" would be the category. The latter ones would cause physical reactions as vomiting.
> Do you think sympathy or antipathy of smell is set at birth, or is it learned?
Learned.
> Important:
What is possible with olfactory art as compared to visual art?
Time and space based experiences. The experience of the moment is never the same.
> Hypothesis: Why do you think many people trust the visual sense more than their nose?
The visual sense is good at creating comfort by offering information on distance.
On the contrary, the olfactory sense creates discomfort because the receiver is forced to take the chemical substance in the body (nostril).
> If you have to name a similar discipline in art, would you say olfactory art is more like music or more like performance?
Olfactory art is very much like music. Music is time-based art. And olfactory art has space aspect to it.
> Do you see it critical that many artists need the help, knowledge and interpretation of professional perfumers or chemists ? If they want to realize something with smell?
I don't necessarily think so but I personally do not want to limit myself in exploration in the medium. If you ask someone to help, you're very limited.
> Do you work with IFF or any others company or "only" with the material an the extracts?
Sometimes Steven Pearce at Omega Ingredients helps me by supplying materials.
> You used kodo for some academic works, why?
It is a good example of "olfactory game".
> What is the main difference you think, if you create a perfum or a scent for an exibition? Or do you think there is one? Because you also make perfumes (7smell, scnet of holland, ..)
The perfumes I made for the exhibitions are not to be worn as perfume, but to be smelled.
2008
1- How you define your practice/research?
I'm researching on the sense of smell, and the smell / odor / scent. My challenge is to use them as a medium in art. The sense of smell is one of the most instinctive sense in the body, and has the instant connection to our imaginations and memories. I got interested in this field since I was working before with the digital media researching on the remote/global awareness. The smell / odor / scent travels beyond time and space, directly contacting one's image and memory. These characters of smell as a medium is something totally different from that of the digital media.
2- Why to experiment in Architecture?
The scent as a medium naturally has a spacial character like the architecture has. I have once worked on perfuming the space for the dance performance. From monitoring how the audience react, I am convinced that a big part of the human behavior is actually driven unconsciously by the scent. In that extent I see the common factors with the architecture. So the experimentation of the audience's behavior in the scented space/architecture would be very interesting.
3- Which perception do you have of the use of creativity in your practice/research?
If I can invent a new way of using a medium that communicates well with the audience, or if I can create a totally original medium on, I would evaluate my work 'creative'.
4- How the studio is an important element for the final achievement?
The scent is something super local - the molecule evaporates quickly and fades away before saving it in the harddisc. So working in the studio somewhere means, for me, focusing on the local scent. For example, If I would work in Portugal, I would work with some Portugal-original scent. And its result would become something totally not produceable anywhere else.
5- What are your current topics of interest in these fields?
Scenting / Perfuming the space, and experiment with the human behavior. I'd like to create such a space where the audience explore with their nose (only!).