Yoshi Sodeoka is an artist working across video, print, and digital media, with a practice that includes immersive video installation. His work explores the boundaries between perception, abstraction, and systems logic—drawing from experimental music culture and the structural language of math and digital technology. His projects span fine art, editorial, and music contexts. He has collaborated with musicians such as Metallica, Psychic TV, Tame Impala, Oneohtrix Point Never, Beck, The Presets, and Max Cooper. His illustrations have appeared in publications such as The New York Times, Wired. He has also been commissioned as an artist by brands such as Apple, Samsung, Adidas, and Nike. Sodeoka’s work has been exhibited internationally at venues including the Centre Pompidou and Tate Britain.  Originally from Yokohama, Japan, he moved to New York in the 1990s and has been part of the city’s art scene since.

The Swarm

The Swarm is a generative video project that visualizes bird flocking as both a natural spectacle and a system of data. Built with boid-based simulations, the work cycles through a series of diagrammatic overlays — vector arrows, red tracking dots, neon green fields, and line graphs that hint at speed and direction. These layers suggest an attempt to decode the mystery of coordinated movement using the visual language of computational logic. The viewing experience shifts between extremes: moments of frenetic complexity alternate with stillness and calm. At times, the scene resembles a digital targeting interface; at others, it evokes a serene green-screen void where birds drift peacefully in space. Despite the density of visual information, there’s a sense of reduction at play — the abstracted lines and symbols don’t explain the flock, but rather suggest how a machine might try to understand it. The Swarm is a meditation on perception, both human and artificial, and the tension between wild behavior and clean analysis.

🔇