By Kevin Murphy Wilson • Photos Provided
Shohei Katayama is a Louisville-based Japanese American visual artist, professor, and curator. This month, Katayama’s work in the latter capacity is featured at KyCAD’s 849 Gallery in Machina Ex Natura, a show that explores the intersection of the natural and technological and contains contributions that he assembled from Jacklyn Brickman, Ian Brill, Nathan Byrne, Isla Hansen, James Hartunian, Joshua Challen Ice, Ezra Kellerman, Sebastian Llovera, Erin Mallea, Abhishek Narula, Kristina Sheufelt, Georgia B. Smith, Hannah Smith, and Todd Smith. We recently caught up with Katayama to hear more about his practice overall as well as the current exhibition that remains on view through March 31.
VT: So, how did your journey as an artist begin?
SK: “I grew up in Tokyo, Japan during my early adolescence and have lived in the U.S. since. I’ve always been deeply curious about the natural world—how light bends, how forces interact, how patterns emerge in nature. As a child, my curiosity sometimes got me into trouble—like the time I ‘experimented’ with magnets on newly purchased TVs, mesmerized by how they distorted the screen. That same inquisitiveness still drives my work today—occasionally leading to trouble but always pushing me to explore materials and forces in unexpected ways. My journey began at the intersection of that curiosity and a need to express what I couldn’t always put into words. Moving to the U.S. presented a significant cultural and linguistic gap—gestures, posture, slang, accents— subtleties that were entirely new to me. Without a community that shared my upbringing, I leaned heavily on mimicry to assimilate and blend in.
I spent a lot of time observing friends and acquaintances, trying to understand not just what they were saying, but how they experienced the world. This question of whether true understanding requires direct experience shaped my approach to both people and art. Could a musician who has never sculpted truly grasp what it feels like to carve stone? Could a painter ever fully understand the motion of a dancer’s body? Rather than following a linear path, I expanded my interests in multiple directions, seeking to embody different disciplines as a way of connecting. This examination of the world is likely why I’m always drawn to materials, processes, and experimentation. It’s what eventually led me to explore technology alongside traditional artmaking, blending disciplines to better understand—and challenge—the structures that shape perception and interaction.
Over time, my practice evolved into something that blends sculpture, digital fabrication, and kinetic elements, often engaging with concepts from philosophy, science, and ecology. Eastern philosophies, particularly those emphasizing interconnectedness, have been a huge influence on me, especially in the way they align with ideas about systems, forces, and the invisible networks that shape our reality. One of the defining moments in my journey was the Fukushima Nuclear Disaster, which deeply impacted my thinking about the fragility of systems—both natural and human-made. That event reinforced my interest in the ways technology and nature intersect, sometimes harmoniously and sometimes in tension. It also led me to explore themes of grief, resilience, and transformation in my work. My journey is still unfolding, but it’s always driven by a desire to explore the unseen forces that connect us all, something that feels both intimate and universal.”
VT: Can you speak to what makes the process of creation special for you?
SK: “For me, creativity is about discovery—the ideas that emerge through making. There’s something deeply satisfying about watching an abstract concept take physical form, transforming thought into something tangible. The process allows me to explore questions without clear answers, test ideas, and engage with the unknown in a way that’s both challenging and liberating. It’s an act of freedom, a way to exercise agency in a world often bound by rigid structures. Another deeply rewarding aspect is how my work resonates with others. When someone interacts with a piece and experiences a moment of realization, curiosity, or even just a visceral response, that connection is incredibly meaningful. When viewers engage with my work on an intuitive, reflective level, it reaffirms why I create in the first place.”
VT: Do you see any overlap between professional practice and your role as an Assistant Professor of Studio Art at KyCAD?
SK: “Absolutely—there’s a deep overlap. Everything I teach is grounded in what I wish I had known as a student—insights I gained only through the lived experience of being an artist. The lines between artist and educator constantly blur because, in many ways, teaching is an extension of my practice. That said, I recognize the importance of timing. When students are just beginning their journey, the focus isn’t on deep theoretical discourse—it’s on exploration, experimentation, and developing an intuitive relationship with materials. Overloading them with complex ideas too soon can lead to paralysis by analysis, stifling the curiosity that fuels creativity. While I don’t always get it right, my goal is to create an environment where students feel empowered to take risks, discover their own process, and engage with theory as a tool rather than an obstacle.”
VT: Finally, what is the relationship between your work as an artist and as curator?
SK: “I see my work as an artist and curator deeply intertwined, both rooted in the desire to build community and create spaces for dialogue. I’ve long been drawn to project spaces as a means of sculpting society—places where different demographics can converge, exchange ideas, and recognize shared experiences. I first explored this through ThinkBox, a basement/garage space at Magnolia and 3rd Street, later rebranded by Julie Leidner as Sheherazade. More recently, I founded Carbon Copy at 4th Street and Oak. These spaces were never about institutional authority or commercial viability; they were platforms for artists to experiment freely, exhibit work with minimal risk, and engage in discourse. In many ways, I acted more as a facilitator than a curator. That said, Machina Ex Natura, the latest exhibition at KyCAD’s 849 Gallery, marks my first official curatorial project—one that fully aligns with my artistic practice and inquiries. The show explores the convergence of nature and technology, investigating how digital processes and machines act as extensions of organic forms and creative impulses. As KyCAD launches its Digital Fabrication Pathway, this exhibition highlights how contemporary artists incorporate industry techniques—3D printing, laser cutting, CNC, CAD, and physical computation—not just as tools for efficiency, but as integral, poetic elements of their work.”
For more information about Machina Ex Natura visit kycad.org.
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