Yoshi Sodeoka is a Japanese-born multimedia artist and musician celebrated for his groundbreaking work across video, GIFs, print, and NFTs. Trained as an oil painter from age five and as a guitarist from thirteen, Sodeoka blends traditional artistic roots with cutting-edge digital media. Based in New York since his 1990s move from Yokohama, Japan, and studies at Pratt Institute, his art reflects a neo-psychedelic aesthetic inspired by punk, metal, and experimental music.
Renowned for integrating video feedback, found imagery, and original soundscapes, Sodeoka has also become a pioneer in the NFT space, with projects exploring themes of organic systems, virtual environments, and algorithmic design. His work has been featured in collaborations with musical icons like Metallica and Tame Impala, leading publications such as The New York Times and Wired, and campaigns for Nike and Apple. Exhibited globally in venues like the Centre Pompidou and SFMOMA, Sodeoka continues to push boundaries in digital and contemporary art.
Sodeoka will have his MakersPlace debut at Miami Digital Art Fair 2024 with his series Spectral Null.
Brady Walker: Could you start by telling me a little about yourself and your journey as an artist?
Yoshi Sodeoka: I’m a video artist based in NYC. I grew up in Yokohama, Japan, and moved to New York in the ’90s to attend Pratt Institute, where I studied art. I’ve been living and working here ever since.
BW: What was the process like making a life as an experimental video artist before NFTs and even before Instagram and YouTube? What were your distribution outlets, and how did you make a living?
YS: I’ve been creating digital art for over two decades, so NFTs are relatively new to me—they’re just an added income stream. Before NFTs, I worked independently or sometimes with art galleries to sell prints. Collaboration has always been a big part of my practice, and I’ve taken on commissions over the years. I’ve directed music videos for bands like Tame Impala, Metallica, and Max Cooper. Thankfully, these projects weren’t typical client jobs—they approached me because of my work as a video artist, so I had the creative freedom to make what I wanted.
In addition to music videos, I’ve created editorial animations for publications like The New York Times, MIT Technology Review, and Wired. These projects feel like an extension of my artistic practice rather than commercial work.
BW: Do you remember the moment you first saw a piece of video art and thought, “That’s it. That’s what I’m doing now”?
YS: Not sure I can pinpoint to just one. But I still remember watching Colorful Colorado by Phil Morton and I loved it a lot.
BW: You’ve referenced Aphex Twin as an influence. What role does music play in your creative vision and process?
YS: I love Aphex Twin’s music, but what inspires me most is his approach as an artist. He has this unique ability to create work that’s highly experimental yet emotionally engaging—a rare balance. Experimental art and music often lean toward being intentionally incomprehensible, which I also enjoy. But Aphex Twin strikes a balance between complexity and accessibility, and that’s something I strive for in my video art.
BW: There’s so much going on in The Swarm. It feels like a scientific demonstration of patterns in nature, yet the depicted world is artificial. Did you approach this as a satire of meaning-making?
YS: That’s an interesting perspective! I didn’t think of it as a satire. For me, it’s more of a commentary on today’s media culture. We often can’t tell whether what we see online or in media is real or fabricated. AI is a hot topic in this context, but Hollywood has been mimicking reality for years.
On a broader level, it makes me wonder—what if all of human existence isn’t real? Some people believe in simulation theory, where life is likened to a video game. I think about that sometimes too, but ultimately, we’ll never know.
BW: Did you do the audio for The Swarm? It’s stunning—I’d listen to it on its own.
YS: Yes, I did, as I do for most of my work. I’ve been making and playing music all my life.
For The Swarm, I created the audio using a simple tone generator inside After Effects. I tend to create the video and audio simultaneously, which helps everything feel integrated and cohesive.
BW: What is your video art stack? What tools and workflows do you prefer?
YS: I use After Effects for almost everything, even for making prints. It’s a tool I’m very comfortable with. I also spend a lot of time color-grading my videos in After Effects—a skill I picked up while directing music videos.
BW: In the Fibonacci Sequence project with Max Cooper, he mentioned you “had a beautiful system linking the Fibonacci Sequence to starling flight.” What was that system, and how did it come about?
YS: I built a framework in After Effects using Expressions to animate the golden ratio. I linked this system to flocks of birds in 3D space. Once I had the system in place, it made producing the video much more efficient.
BW: Your video for Oliver Coates’ “Norrin Radd Dreaming” hints at your fascination with birds and the sky as aesthetic materials. How did you create it?
YS: For that video, I filmed various clips in New York City using my iPhone. The flying birds are a key element, but so is the city’s architecture. I deconstructed the footage geometrically and reassembled it to create the final piece. It’s one of my favorite works.
BW: Many of your video art pieces debut in massive immersive environments. How do you reconcile the large-scale nature of your work with the small screens of the online digital space?
YS: What you see online is mostly documentation of the immersive installations. Knowing that people experience these works in the actual spaces is what matters most to me.
That said, I’ve noticed an increase in AI-generated videos of fictional art shows on Instagram. These aren’t real exhibitions, but they’re fascinating as art in their own right. Again, it raises the question—does it even matter if something is real?
BW: What prompted you to create The Flood and its various iterations?
YS: The Flood evolved from my Swarm series. Both explore the behavior of living creatures in large groups. The systems I use to create these pieces are quite similar.
BW: Did you once create under the moniker C505?
YS: Yes, I did, and I still own that domain name.
BW: What’s the latest with Undervolt & Co.?
YS: It’s on hiatus. It became too much work to manage, so I put it on pause over five years ago.
BW: Are there any bands or musicians you’d drop everything to work with?
YS: I feel incredibly fortunate to have worked with some of my favorite bands, like Tame Impala, Max Cooper, and Metallica. That was amazing, and I don’t have a bucket list of musicians to collaborate with. I just go with the flow. If an artist I vibe with approaches me, I’ll consider it. Otherwise, I focus on my personal projects.
BW: Who are your favorite video artists, both living and dead?
YS: Nam June Paik is a major influence. While not strictly a video artist, I also admire Christian Marclay’s work.
BW: What are you listening to, reading, and watching these days?
YS: I’ve been listening to a lot of heavy music—hardcore and heavy metal in all its subgenres—as well as quiet ambient music. Nothing in between! I don’t typically listen to pop music.
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