Haste Monotone

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Project Description

Haste Monotone explores the relentless, repetitive rhythm of urban life through the interplay of light and shadow. Two rows of pedestrian silhouettes, viewed from above, are embedded on a white wall. Three lights fade in and out in sequence, casting shifting shadows that evoke the illusion of constant, hurried footsteps. By creating a minimalist, monochromatic scene composed only of light and shadow, the project invites visitors to reflect on the repetitive patterns and the fast-paced monotony of their own daily lives. The inspiration for this work comes from Kosei Komatsu’s Light and Shadow Butterflies, which transforms simple shadow play into poetic motion. I was inspired to adapt that idea to urban imagery, using walking shadows to express modern society’s constant rush and quiet uniformity.

Perspective and Context

This project is directly inspired by Kosei Komatsu’s Light and Shadow Butterflies, from which I learned the power of using light and shadow to create the illusion of motion. In Haste Monotone, however, I replace Komatsu’s swinging bulb with three independently programmed lights that fade in and out sequentially, allowing for a more controlled, rhythmic composition. In this way, the work also echoes themes in op art, where static forms generate dynamic visual experiences. The slowly shifting shadows simulate movement without any actual physical change, creating a subtle yet powerful illusion that mirrors the mechanical repetition of daily routines.

Additionally, the project draws on James Turrell’s minimalist approach, in which simple, pared-down installations become spaces for deep perception and contemplation (Clark, 2011). By keeping the visual language minimal — only silhouettes, white walls, and shifting shadows — I aim to strip away distractions and immerse visitors in an experience that invites introspection. The pedestrian silhouettes, viewed from above, further encourage viewers to step outside themselves and observe, from a detached perspective, the routines and repetitive patterns that define modern urban life.

Development and Technical Implementation

To develop the physical setup of my project, I borrowed a movable wall from the IMA studio and installed three bracing pieces and metal studdles on top to suspend the lamps securely. I sourced various pedestrian silhouettes from Freepik.com, modified them by splitting each figure into halves, and then laser-cut them from translucent frosted acrylic sheets. This material was chosen for its ability to cast soft yet defined shadows while maintaining a clean, minimal aesthetic. Each pair of silhouette halves was carefully positioned at precise angles, ensuring that the shadows cast from different light directions remained distinct rather than blending, thus enhancing the illusion of walking motion. This angled setup also allows visitors to experience shifting perspectives when viewing the piece from the front or side.

And for the lighting, I selected three halogen lamps for their clean, sharp light quality. I programmed them to fade in and out sequentially at varying speeds, creating layered shadow movements that simulate walking figures. These changing rhythms produce subtle variations in motion, enriching the visual composition and encouraging visitors to slow down, observe, and reflect. The interplay between static silhouettes, dynamic shadows, and rhythmic lighting creates an immersive and contemplative environment for the audience.

Here is the Arduino code:

https://drive.google.com/file/d/1RGpzF0ZsEyVRtu3xSHhQKmf4wSqpoD7a/view?usp=sharing

Presentation

The presentation turned out to be very successful. Audiences observed the shadow motions from different angles themselves and acknowledged the creative use of shadow.

Conclusion

I learned a great deal from this project, and the entire development process went more smoothly than I initially expected. At first, I lacked confidence, worrying that the concept might be too simple. However, Professor Eric’s advice — that a simple idea can be profound and compelling if executed thoughtfully — really encouraged me. This mindset allowed me to focus on refining details and staying true to the core concept throughout the process.

Through this experience, and especially through researching Kosei Komatsu’s Light and Shadow Butterflies, I gained a deeper understanding of minimalism and the endless creative possibilities of working with light and shadow. In the future, I hope to continue exploring this direction — learning how to work more skillfully with light, shadow, and materials — and to carry thoughtful, well-crafted ideas into my upcoming projects.

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