Drops of Inspiration is brought to you by Glenfiddich and Highsnobiety to showcase how the brand serves as an unexpected source of inspiration for pioneers to spark new ideas. From the very first drop in 1887 to its global prestige today, Glenfiddich has become an icon, not only in the world of whisky but culturally. It's time to see that unfold in the second of this three-part series.
Frieze Week, London. A time when the capital brims with creative energy and sensorial art experiences. Thousands fly over from around the world to witness and be part of the prestigious art fair, and this year is no different. With international artists taking center stage, the city turns into a melting pot of global talent — and we’ve got our eyes on one in particular.
Meet Ryoichi Kurokawa. The Osaka-born artist, who now lives and works in Berlin, dabbles in many different mediums. From installations and recordings to concert pieces and performative works, Kurokawa plays around with the concept of time. Through experimenting with audio-visual art, much of his work forces us to engage with the space we live in, transforming structures of thinking and ways of feeling. He’s no stranger to having his work move to new places, with past pieces exhibited at the Venice Biennale, Sonar, and Taiwan’s Museum of Fine Arts, so it’s no surprise that this year he is heading to London — but there’s an added layer of creativity here.
Kurokawa has partnered with Glenfiddich on a special installation that sees the brand’s Time Re:Imagined collection come to life through three immersive audio-visual artworks. Moving between two locations in Central London (King’s Cross and neighboring bar Sweeties at The Standard), the eye-catching work delves into different moments in time that capture the identities of the three single malt whiskies in the Time Re:Imagined collection seamlessly combining the world of experimental art and whisky.
Three rare whiskies are distilled into their artistic equivalent inside a striking mirrored cube at King’s Cross, followed by an installation in Sweeties at The Standard. The first is the 50 Year Old which represents Simultaneous Time. This particular single malt explores the complex conditions that have influenced the flavor. Next is the 40 Year Old Cumulative Time, which draws attention to the layers of flavor that have gathered in the liquid from a remnant vatting process (a pioneering process by Glenfiddich). Finally, we have the 30 Year Old that embodies Suspended Time, the moment when the Malt Master suspends the development of the whisky to showcase the purest expression of its character.
Kurokawa, who is a big whisky fan himself, was inspired by the craftsmanship and applied science in the whisky-making process, especially in relation to time. Through a mix of computer-generated sounds, colors, textures, and structures from nature, the artist has built a sensory spectacle with a tender sort of fluidity that represents all three whiskies in one single moment. “There are a myriad of synergies I have observed between the work of an artist and the creation of rare whisky. Both artists and distillers are devoted to their craft, producing beautiful expressions of their creativity led by instinct and precision. Having had the opportunity to visit the Glenfiddich distillery in rural Scotland, I gained an appreciation for it that I found hugely inspiring in the process of creating the artwork in the cube. I am excited for people to experience my creation from within the cube, which allows for a true moment of escape,” says Kurokawa.
From 12-15th October, the artwork will be displayed in the mirrored cube in front of King’s Cross station, moving onto Sweeties at The Standard from 17-28th October, where guests can enjoy the installation alongside the Time Re:Imagined whiskies. The bar will offer a bespoke limited edition menu of cocktails, with the menu also featuring a selection of drams to sip and savor whilst taking in the sensorial display.
For now, it’s time to hear more about the artwork and what inspired its creation by Kurokawa himself.
So Ryoichi, what was the very first artwork you remember making?
I still remember the painting I drew when I was in kindergarten, which happened to win an award and was publicly displayed. However, the first artwork publicly presented as part of my artistic activities was an audiovisual project in 2000.
What got you into the art world? Is there a memory that sparked your interest?
Since I was a child, I've always loved creating things. Towards the end of the 1990s, when I was in my late teens, I bought a Mac for the first time to create digital visual art. From there, I would show and share what I created with friends, which led to more opportunities to showcase my work, and my journey as an artist naturally began. I didn't have any background in art, and it feels like I started my current profession by simply playing around.
Describe your practice to me in a sentence.
Composing sound and light spatially.
What really drives you to make the work you create now?
I believe that the strongest is a pure desire for creativity regardless of the artwork, but I also want to see what I imagine in my head become an actual reality.
Tell me some of the themes that you like to explore most within your work.
The significant theme is the reconstruction of nature. Not all of my pieces share this theme, but through these works, I aim to provide synesthetic and multi-sensory experiences and hope they can serve as a trigger for new insights and awareness for viewers.
How does Glenfiddich’s overall philosophy resonate with your practice?
I was particularly moved by the careful and time-consuming approach applied to several steps. When I create my own works, I also strive to be as meticulous as possible, paying attention to details and dedicating as much time as necessary to the piece. Creating something with care may seem contrary to the fast-paced demands of today's world, but it was inspiring to see that this approach has been sustained in the brand’s craft for over a century since Glenfiddich’s inception.
What interests you most about Glenfiddich as a brand?
Their craftsmanship and their ethos of always looking to the future.
Your work really feels like being transported to another world. Can you talk about the process?
For immersive works, I imagine as if I am actually in that space, assuming that a massive artwork is right in front of me, and I design it in my mind. Once that imagination becomes more specific and clear, I proceed to actual production. For instance, in the case of installations, I may delve into 3D modeling of the space and architectural elements.
What about sound and light really interests you?
I create works in various formats, but my primary interest lies in how to compose sound and visuals, essentially how to sculpt time. I perceive and produce sound and light not as separate entities but as a single unit. Spatial information is dominated by the sense of vision, while temporal information is governed by the sense of hearing. Visual information and auditory information are processed separately through different pathways in our brain. By integrating these different sensory information streams, such as vision and hearing, it’s possible to enhance each medium, so I aspire to create works that allow the audience to tangibly experience this enhanced feeling.
What inspired your installation for this project? How did you transform each whisky in the Time Re:Imagined collection into audio-visual art?
In the 30 Year Old, Suspended Time, the keyword is ‘moment’, and I abstractly expressed the act of discovering that crucial moment through stillness and motion. Drawing from my experiences of witnessing the beautiful Scottish nature, not just for 30 Year Old but also for the 40 and 50 Year Old — I selected and combined colors and textures sampled from nature.
Suspended Time is characterized by vivid colors observed up close in nature, like flower petals, Cumulative Time by subdued colors observed from a distance in nature, like landscapes, and Simultaneous Time by the image color of whisky and malted barley.
The methods of drawing pixels are also distinctive for each, with each employing different drawing elements. 30 Year Old is entirely drawn using only dots. In the composition for it, the focus is on air, one of the three pillars of Glenfiddich's whisky production, and an animation with movements influenced by air was programmed.
In the 40 Year Old — Cumulative Time, everything is drawn with lines, and the layers of time are replaced by clusters of lines. Here, the emphasis is on water, another of the three pillars of Glenfiddich's whisky production.
50 Year Old (Simultaneous Time) is based on the concept of overlap. With the theme of experiencing everything simultaneously, the composition is structured to have simplicity and complexity, with curves and straight lines coexisting within a single frame.
Some might think that Glenfiddich being a whisky brand, could be an unusual source of inspiration for your art — what do you think of this?
Time Re:Imagined is the central theme. The audiovisual aspect involves shaping sound and visuals over time, so the flow of time in the whisky production process significantly influences the creation. However, it does have a different texture compared to my usual works; it feels more gradual in this project.
What can we see in this installation that aligns with Glenfiddich’s identity?
The three pillars of whisky production: water, air, and malted barley are also incorporated as motifs, abstractly representing the re-imagination of time. Beyond the content, the installation adheres to the concept of the number three — three whisky, three pillars of production, three factors influencing whisky maturation, and three audiovisual compositions on three distinct scale displays.
What are some of the challenges you face as a practicing artist?
For me, discarding the methods and expressions I once established and entering a new phase is both important and challenging. It's very difficult to change or develop everything at once, but I'm trying to make small changes in each piece. Incorporating new elements I’ve never used before, or unfamiliar technology into my new pieces helps avoid predictable outcomes and serves as a way to constantly maintain creative motivation.
For you, what does a successful art piece entail?
It's about creating works that can convince or satisfy me.
What did you enjoy most about working with a brand like Glenfiddich?
I was amazed by the traditional method of conducting all the processes under rigorous control. The tour of the Dufftown distillery and the tasting were stimulating for all the senses, in particular, the olfactory experience. That became something special.
What would you like to see change or develop more within the art world?
I hope to provide a different, new perspective and way of perceiving matters.
Find out more about Glenfiddich's Drops of Inspiration here.
Glenfiddich. Skilfully crafted. Enjoy responsibly.
