EEPMON is featured in the print issue of National Geographic Japan (April, 2026).

The feature explores his “High-Tech, High-Touch” philosophy, specifically highlighting:

∙ The Weather Art Generator: A new work that visualizes and converges real-time weather data from Ottawa and Tokyo, creating a living digital bridge between the two cities.

∙ Canadian Census Data Art: The generative piece Constellations, created during his residency at Library and Archives Canada and showcased at the Canada Pavilion during Expo 2025 Osaka.

The publication coincides with EEPMON’s solo exhibition, Digital Worlds, currently on display at the Embassy of Canada to Japan’s Prince Takamado Gallery in Tokyo through May 12, 2026. Special thanks to the Embassy’s public affairs team, the editorial team at Nikkei BP, and National Geographic for highlighting these algorithmic and data-driven creations that explore human narrative and sustainability.

The works discussed in this feature are available for public viewing in Tokyo until May 12, 2026.

About the National Geographic Japanese Edition

National Geographic Japanese Edition is the Japanese language edition of the world-renowned National Geographic magazine that was launched in 1888 in the United States. National Geographic magazine, now published 33 local-language editions, covers the “unknown facts of the earth” that relate to nature, adventure, history, global environment, science and culture. Its beautiful photography, shot by prominent photographers, and its in-depth stories are ardently supported by numerous readers around the world. The Japanese edition was launched in April 1995 and its subscribers cover a wide age group from small children to the senior generation.

Learn more here →

EEPMON was featured in an article by Alexis Boyle for the National Art Education Association (NAEA) Museum Education (January 20, 2026). The piece, titled “From Exclusion to Inclusion: The Canadian Museum of History Collaborates with a Local Artist to Unpack the Chinese Exclusion Act of 1923,” provides a behind-the-scenes look at the artist’s collaboration with the museum. The project examines the Canadian state’s historical treatment of Chinese immigrants during the late 19th and early 20th centuries.

Constellations – The Flow of Belonging is a generative art piece by EEPMON that visualizes Canada as a fluid constellation of families, symbolizing the dynamic movement of people and their contributions to the nation’s cultural regeneration. The work transforms transcribed census data from Library and Archives Canada (LAC) into a narrative that explores mobility, diversity, and resilience.

The visualization features flowing patterns and family units that grow brighter and more interconnected over time. Inspired by Norman Takeuchi’s 1970 Expo Bus, which connected diverse communities across Canada, Constellations reimagines this mobility for the digital age. Colours pulse through particle-like connections, representing the cultural and social links forged by communities. By showcasing these groups as constellations of renewal, the piece aligns with themes of multicultural identity and systemic regeneration, offering a perspective on the vast stories found within LAC’s archival collections. Constellations – The Flow of Belonging was exhibited at the Canada Pavilion during Expo 2025 Osaka.

Software
Processing (https://processing.org)

Above: Census data test output

Constellations – The Flow of Belonging & Chinese Exclusion

This extension of the project specifically references the Chinese Exclusion Act period (1923-1947). While maintaining the theme of communal interconnectedness, it introduces sharp red strokes to symbolize the dispersal and exclusion of Chinese immigrants during this era. These erratic visuals serve to evoke the volatility of systemic barriers in contrast to the core theme of unity.

Software
Processing (https://processing.org)

Constellations – The Flow of Belonging & Chinese Exclusion Video

Constellations – The Flow of Belonging 3min Video