Masaki Fujihata is one of the pioneers of global new media art. He began his career working in video and digital imaging in the early 1980s. He was one of the first artists to use stereolithography, a technique in which a laser polymerises a liquid resin as it sweeps its surface.

His computer graphics work was much celebrated in the 1980s, before his interests shifted to creating 3D sculptures from data using 3D printing, as in his CNC-routed Geometric Love (1987), the stereolithographic Forbidden Fruits (1989), and the world’s smallest sculptures made using the manufacturing techniques for integrated circuits.

In the mid-90s, Fujihata produced canonical pieces of what would later be called “interactive art,” including Removable Reality (1992), which used an infrared cordless phone, Impressing Velocity (1994), in which he used a laptop computer equipped with GPS to digitally map Mount Fuji, Beyond Pages (1995-1997) and the exploration of networking technologies with Global Interior Project (1995). His work problematizes everything from how we interact with interfaces to the ways we might communicate in virtual space.

More recently his primary concern has been to employ multimedia technology in order to examine the possibilities for communication within virtual spaces. In particular, his experiments with GPS technology beginning in 1992 takes a rather uncommon technical tack in gathering data, making for a meticulously composed and unexampled series of cyber-spacial creations that can only be called “the cinema of the future,” or “the shape of media to come.” His Field-work@Alsace (2003) compiled interviews about international borders. The musical piece Simultaneous Echoes (2009) was created in Northern Ireland. His Voices of Aliveness (2012), created in Nante, France and assembled the shouts of bicyclists in virtual space.