Research Project: The Works of Hideo Mabuchi and Shizuka Aoki

April 28, 2024

The arts have long been combined with science to create powerful works, bringing about pieces that benefit from both avenues. As such, many great artists have utilized the two practices simultaneously in their work, often making advancements in both fields as a result. In cases of Western art and non-Western art, cultural influences undeniably impact many aspects, a significant element being the perceptions of those of a differing culture. Although this attribute is a considerable note, it is not aptly discussed in this text. Instead, it represents non-Western culture through artists Hideo Mabuchi and Shizuka Aoki, opting to provide a glimpse into this element with the work created by non-Western artists. Additionally, focusing on science rather than the elements of culture, this text asks questions such as how these artists use science in their work. How does this influence shape the work created?

            To answer these questions, the text primarily takes on an iconographic approach, further asking, “What was this artwork for?”[1] By extension, it asks why the artist created it, a question parallel to the core question that is still beneficial to ask. As such, these questions must be answered first. Additionally, there are elements of a biographical approach, providing insight into the sort of artists that created these works. Although both artists are still living at the time of writing this, these backgrounds offer valuable information and knowledge that helps to enrich the artwork. The answer to the question itself is that science does more than influence the chosen art. It lies at the core of it. As such, it impacts every element, being a key component. It cannot be separated from the art without the work being reduced to nothing.

            To reach this conclusion, the facets of each artist’s work are examined with the question of how that particular work relies on science. Specifics regarding this differ based on the work, as one may rely on science differently than another. Ultimately, Akoi’s work focuses on anatomical technicalities, such as biology, anatomy, and physiology. In contrast, Mabuchi’s work utilizes physics, chemistry, and a level of mathematics. The core of the art is reliant on such a science due to its structure.

            To continue this discussion, we will look at one of the artists mentioned before, Hideo Mabuchi. Mabuchi is an individual with extensive experience in the science of physics. He studied in such a field and received “an AB in Physics from Princeton and a PhD in Physics from Caltech,” making him a professional.[2] “His early scientific research was focused on understanding open quantum systems, quantum measurement, and the quantum-to-classical transition,” an early indicator of his strides in other scientific endeavors.[3] Such details set him up as one familiar with the realm of science, putting it in a position of significant influence on his endeavors. Instead of having to look deeper to decipher that this is a core attribute of his artistic process, his artwork makes this basis explicitly clear.

            Initially, Mabuchi began creating with ceramics on “a bit of a whim,” stating, "It’s very natural to have interests both in artistic pursuits and scientific ones.”[4] This very sentiment strikes true to the practice, as they frequently intertwine. He highlights that his field of creation is inherently technical, and in this sense, it appeals to him more. This facet is ingrained into the creation process as he remarks that the materials require a particular level of finesse to be manipulated to create what one desires. The process itself requires primarily physics for structurally sound creation, in addition to compositional chemistry. One can argue that mathematics is another point of contention as well, as although they are not widely considered a science, they work in tandem with it and are often a massive part of the process. Although there is no extensive list of reasons why science is a core element of this craft, Mabuchi remarks that there is “not really a lot of difference between what I’m interested in in science and what I’m interested in in art.”[5] Due to this inherent link to sciences, he goes on to use this process to teach sciences such as art, physics, chemistry, history, and geology.[6] These elements become more evident upon such knowledge, which can be seen in his work (Fig. 1).

            Shizuka Aoki founded and still works as the lead medical artist at Anatomize Media. This company aims to “combine scientific knowledge and artistic expertise to distill complex ideas into accurate, educational, and inspiring visuals.”[7] Aoki expresses a deep passion for her craft, fascinated by the human body's inner workings early on. Further delving into this element, she remarks, “In grade nine, I designed myself a 10-year plan with a goal to graduate from the Johns Hopkins University School of Medicine medical illustration program—and the rest is history.”7 Going on to work for prestigious organizations, such as National Geographic, she has found great success in her field, relying on the sciences to create and make strides in the field.

            Unlike Mabuchi, Aoki does not express much regarding the creation process, but one can infer the scientific influences without trouble. Inherently, her work is concerned with comprehensively displaying internal systems of functioning, making “visible something that lies far beyond the everyday domain of the visible.”[8] These deconstructions of functions show intricacies that are of extensive benefit to the fields of science, physiology, biology, and anatomy. As information from such fields is integral to creating such works, there is a reliance but still a benefit to further such areas. Interestingly, Akoi has dabbled in representing forms of functioning in animals (Fig. 2) and not just the relevance of human anatomy, contributing to zoology. The definition of anatomize provided by her company website aptly puts the focus of her work into perspective, being “to dissect; to display the anatomy and use of the parts” and “to examine and analyze in detail.”[9]

            In essence, the intertwining of art and science is evident in the works of artists like Hideo Mabuchi and Shizuka Aoki, whose creations are deeply rooted in scientific principles. They demonstrate their mastery of artistic techniques and a profound understanding of scientific concepts through their art. Mabuchi's ceramics and Aoki's medical illustrations are potent examples of how science can allow for deep artistic expression and, thus, how it facilitates creations with depth.

Specifically, Mabuchi's background in physics and his passion for art and science are reflected in his meticulous approach to ceramics. His artworks showcase his technical skills and serve as educational tools that bridge the gap between art and science. Similarly, Aoki's expertise in medical illustration allows her to create detailed representations of the human and sometimes animal body's inner workings, providing invaluable insights into anatomy and physiology. Such highlights the role of science as the backbone of their artistic endeavors.

As Robert Zwinjnenberg writes, “In partnership with scientists, artists can afford the public unique artistic access to the complex new scientific developments, and through their artistic projects, they can present urgent social questions raised by science and technology.”[10] This opens up a dialogue surrounding the field and the beneficial contributions such works can make. In the work of Yoki, this comes about in creating more access to understanding the body's functions, and with Mabuchi, an appreciation and conversation around the process and how much is reliant on scientific techniques.

            The takeaway from such facets is that the fusion of art and science exemplified by artists like Hideo Mabuchi and Shizuka Aoki underscores the profound interplay between these disciplines, yielding visually captivating and intellectually stimulating creations. Through their artworks, Mabuchi and Aoki demonstrate a deep appreciation for their chosen mediums' aesthetic and scientific dimensions, showcasing the inherent synergy between artistry and scientific inquiry. Artists collaborating with scientists can offer unique perspectives on cutting-edge scientific developments and raise critical social questions about science and technology.

Additionally, the differences in how the two artists utilize science for their craft highlight the complexity and diversity of such a subject’s inclusion. To conclude, the works’ purpose is, in part, to demonstrate how sciences impact two different crafts and open the door to educate others on those relevant sciences. As such, the relevant disciplines impact the work influenced in a profound, conceptual manner. Through the work of these two artists, one can further appreciate art and sciences.

Figure 1

Hideo Mabuchi. https://www.instagram.com/firemousehm/.

Figure 2

Shizuka Aoki. https://twitter.com/ShizAoki/status/747536321082621952.

[1] Enger, Reed. “Art History Methodologies Eight ways to understand art.” 2022. Obelisk Art History. http://www.arthistoryproject.com/essays/art-history-methodologies/.

[2] “Hideo Mabuchi – Professor of Applied Physics.” Bio-X. https://biox.stanford.edu/people/hideo-mabuchi.

[3] “Hideo Mabuchi – Professor of Applied Physics.” 1.

[4] Kubota, Taylor. “Science meets art at Stanford.” 2019. Stanford. https://news.stanford.edu/2019/01/30/science-meets-art/.

[5] Stanford. “Science meets art at Stanford: Ceramist Hideo Mabuchi.” 2019. YouTube. https://www.youtube.com/watch?v=3LPAw5erwec.

[6] Gladych, Kendra. “Stanford exhibition Hand and Eye celebrates East Asian ceramic traditions.” 2018. Stanford. https://news.stanford.edu/2018/10/19/stanford-exhibition-hand-eye-celebrates-east-asian-ceramic-traditions/.

[7] Notable Life. “SHIZUKA AOKI: TODAY’S NOTABLE YOUNG ENTREPRENEUR.” 2016. Notable Life. https://notablelife.com/shizuka-aoki-todays-notable-young-entrepreneur/.

[8] Zwijnenberg, Robert. “Chapter Twelve On the Need for Cooperation between Art and Science.” pp.  172. 2013. Jstor. https://www.jstor.org/stable/j.ctt6wp6n0.16?searchText=artists+and+science&searchUri=%2Faction%2FdoBasicSearch%3FQuery%3Dartists%2Band%2Bscience%26so%3Drel&ab_segments=0%2Fbasic_search_gsv2%2Fcontrol&refreqid=fastly-default%3Ace296ee115b6bad4e5184cfeb70bec92&seq=3

[9] Anatomize Studios. “Featured.” https://anatomize.com/.

[10] Zwijnenberg. pp. 174. 4.