Daughter of Butades
Installation / Animation / 2024 / Black&White / 16:9 / 8min 27sec (Loop)
Film / Animation / 2024 / Black&White / 16:9 / 8min 36sec
Director/ Animator / Editor / Monologue : Hirotoshi Iwasaki
Voice:Masayo Ito
Sound Design:Masumi Takino
Sound Mixing Studio:AOI STUDIO
Re-recording:Sayaka Ninomiya, Sae Miyoshi
Re-recording Assistant:Rihoko Hishinuma
Design:Shota Urakawa
Photos:Hiroyuki Umino
English Subtitles:Asako Eguchi
Lines from Aeternitas, a poem by Junzaburō Nishiwaki, translated:Eric Selland
Special Thanks:Junichi Nishiwaki, Midori Moriyama, Masaki Oikawa, Natsuki Yasutake, Junichi Yasutake, Tomoko Yasutake, Ao Iwasaki, Ami Iwasaki

Production Cooperation:Shiseido Co., Ltd.

I sincerely express my gratitude to Mr. Junichi Nishiwaki for granting permission to quote a poem by Junzaburō Nishiwaki's poem "Aeternitas", and to Ms. Midori Moriyama for her efforts.


This rotoscope animation is drawn by tracing recorded footage of people and landscapes no longer accessible due to the pandemic. A woman speaks about her friend who reminisces, tracing the contours of motifs, memories flood his mind—everyday scenes, thoughts of his deceased grandmother, reflections on the disaster. Through tracing, memories oscillate between past, present, and even future.
installation view "17th shiseido art egg  Daughter of Butades" at Shiseido Gallery (Tokyo, Japan)  Photo by Ken Kato
Picture #1 for Daughter of Butades
Chacoal on paper / 2024 


Using the rotoscope technique, Iwasaki began by drawing and shooting a scene on a sheet of paper before erasing the image and repeating the same process over and over again. As a result, erasure marks from the series of images remained in the original picture. Drawing and erasing are acts of continuously remembering and forgetting, and the erasure marks, which appear as traces, form a trajectory of memory.
Picture #2 for Daughter of Butades
Chacoal on paper / 2024 

As rotoscoping normally involves repeatedly drawing and erasing in 
accordance with the timeline of a moving picture, the earlier scenes (i.e., the past) remain as traces. However, it is also possible to animate these scenes by tracing the timeline in reverse and playing them backwards. Thus, the future remains as a trace as the drawings emerge.
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