10 Questions with Sumio Kobayashi
Sumio Kobayashi (born 29 December 1982 in Mie, Japan) is a Japanese composer of contemporary classical music. He won the Gyeongsangnam-do Special Prize at the Isang Yun Prize, second prize at the Toru Takemitsu Composition Award, first prize at the BMIMF 2016 Composition Competition, and first prize at the International Composers’ Competition EUROPEAN CAPITAL OF CULTURE WROCŁAW 2016 (Poland). He has made appearances at festivals such as Takefu International Music Festival, Tongyeong International Music Festival, and Weimarer Frühjahrstage für zeitgenössische Musik.
Dr. Sumio Kobayashi is a Professor of Composition and Musicology at Nihon University in Tokyo, Japan. He received his Ph.D. in linguistics from the University of Kent.
Sumio Kobayashi - Portrait
INTERVIEW
Please introduce yourself to our readers. Who are you, and how did you first discover music and visual arts?
I am a Japanese artist whose work bridges music, visual art, poetry, and linguistics, exploring the interplay between these disciplines to create innovative and multifaceted expressions.
Your compositions have earned recognition at prestigious competitions and festivals worldwide. How have these accolades shaped your career and artistic development? And how have these experiences contributed to your growth as a composer?
While I respect the role of competitions, I don't consider winning them a significant achievement. Juries often focus on works that are immediately understandable, which can limit the scope of artistic evaluation. However, competitions remain one of the most accessible platforms for artists to showcase their work despite these limitations. I feel that winninga competition can sometimes diminish my originality.
A score of good music is always visually beautiful, embodying the harmony between sound and structure. In this sense, what I am doing aligns with the traditions of classical composers—I'm simply adjusting the fundamentals in a slightly different way to reflect my unique perspective.
Ikebana No.5, digital, 2024 © Sumio Kobayashi
Your academic background includes a Ph.D. in linguistics. How does your understanding of language influence your approach to music and visual art?
My background as a linguist greatly informs my understanding of the rules that underpin art. Just as grammar shapes language, similar structures exist in harmonic progression, visual composition, and other artistic forms. One of my core ideas is that an artistic work must be understandable in some way. Linguistic and grammatical knowledge helps me explore the threshold of what makes a piece comprehensible while still pushing the boundaries of creativity.
Your works often explore the boundaries of sound and form. Can you share your composition development process from the initial idea to the final score?
While digital art is often perceived as boundless, it actually comes with many constraints—the limitations imposed by file sizes and monitor dimensions. However, I find these limitations to be a form of guidance; they simplify the artistic process by narrowing down an overwhelming array of possibilities, making it easier to focus on the essence of creation. My creative process is evolving, as I shape my ideas within the boundaries and limitations I encounter, allowing them to transform and take new forms.
Your recent project, Computer Assisted Poetry, merges advanced technology with human creativity. How did you come up with this innovative approach to poetic creation?
Literature has traditionally taken on simpler, more comprehensible forms compared to other arts, often presenting clear, relatable stories. This simplicity stems from its constant engagement with new elements—be it emerging technologies, novel forms of communication, or platforms like social media. Meanwhile, abstract arts often achieve novelty through increasing complexity. This situation gives literature endless potential for evolution. Though serious literature is oftenseen as overshadowed by more accessible genres like popular fiction, I believe there are still ways for classical forms of literature to adapt and thrive in the modern world.
Ikebana No.1, digital, 2024 © Sumio Kobayashi
Ikebana No.2, digital, 2024 © Sumio Kobayashi
You've composed in diverse cultural contexts, from Poland to Korea and Japan. How do these different cultural landscapes impact your creative process?
I have always found myself in a mixed cultural environment—spending time with the Brazilian community in Japan, being connected to Slavic relatives, and living in France and the UK. This diverse exposure constantly pushes me to reflect on my own cultural background and unique originality, especially since Japan, as a nation, is not inherently diverse. These experiences have deepened my understanding of identity and creativity within a global context.
As a composer, how do you approach blending your Japanese heritage with the broader contemporary classical music landscape?
To discover my originality, I first needed to understand myself. As a Japanese artist, I've found that art history highlights deformation as a characteristic feature of Japanese aesthetics. Reflecting on my personal history and family background, I've developed a deep respect for Aestheticism and fairness. These principles are the foundation of all my creations, regardless of the art form or genre.
What are your hopes for the future of art that integrates technology? Are there any specific projects or advancements you're particularly excited to explore next?
I plan to create more interactive artworks that people can touch and enjoy because I belong to a generation that often feels a barrier between people and modern art. In today's era of heightened capitalism, the notion of 'art for art's sake' feels increasingly unattainable. By fostering interaction, I hope to bridge that gap and make art a more engaging and accessible experience for everyone. I believe it is important to create something new, but that doesn't necessarily mean it has to be complicated. Innovation can be found in simplicity, and sometimes, the most impactful creations are the ones that resonate with clarity and directness.
Ikebana No.6, digital, 2024 © Sumio Kobayashi
What are your current or upcoming projects, and how do they reflect the evolution of your artistic vision?
I am deeply interested in creating artwork using the internet, specifically by sculpting texts found online. Through this process, I aim to reveal and reflect aspects of our collective will, offering new perspectives on the way we communicate, interact, and shape our digital realities.
Lastly, as we are at the beginning of a new year, what is your main goal for 2025?
In 2024, I became a father, and this experience has inspired me to create an artwork specifically for children, something that my son can engage with as he grows. I want to explore ways to connect with younger audiences through art, offering them experiences that are both imaginative and meaningful.
Artist’s Talk
Al-Tiba9 Interviews is a promotional platform for artists to articulate their vision and engage them with our diverse readership through a published art dialogue. The artists are interviewed by Mohamed Benhadj, the founder & curator of Al-Tiba9, to highlight their artistic careers and introduce them to the international contemporary art scene across our vast network of museums, galleries, art professionals, art dealers, collectors, and art lovers across the globe.
