Generative editions
Limited series of 8–50 works, each produced from a custom algorithmic system. Cut paper, risograph, archival pigment, or screen — your collection, your material.
Jun Fujiki Studio · Tokyo
Geometry, paper,
Geometry, paper,
and perception.
A generative art practice exploring how mathematical systems become quiet, tactile objects — and how those objects, in turn, reshape the way we see.
07
Years of generative practice from a small studio in Setagaya
42
Editions and commissions held in private & institutional collections
1,200+
Generative iterations cut, folded, and catalogued by hand each year
14
International exhibitions across JP, EU, and the US since 2019
Selected works · 2023–2025
Pieces that hold still, even when their code does not.
A small rotating selection from the studio's generative series. Each piece begins as a rule, becomes a system, and is finished by hand — paper, ink, thread, or screen — depending on what the work needs to say.
Studio philosophy
Code that asks the hand to finish the sentence.
The studio works at the seam between algorithmic rule and physical material. A system is drafted in code, then released — to paper, to ink, to thread, to the slow inaccuracy of a hand. Nothing here is mass-produced. Everything is in dialogue with its own making.
Jun Fujiki trained in graphic design in Tokyo and Berlin before turning to generative practice in 2017. The studio remains deliberately small, producing between eight and twelve new pieces a year, each treated as a single, ongoing question.
- Generative systems are authored, not found — the algorithm is the first draft.
- Material honesty: paper is paper, ink is ink, code never pretends to be either.
- Restraint over abundance — the studio publishes only what survives its own review.
- Slow objects. Each piece is conceived, iterated, and finished across many months.
What the studio makes
Six ways a generative practice can enter your space.
The studio takes a small number of commissions, editions, and collaborations each year. The work ranges from one-off paper pieces to permanent installations and brand identities for cultural institutions.
Bespoke commissions
A single, hand-finished piece made to the dimensions and palette of your room. Begins with a brief, a conversation, and a shared rule-set drawn from your space.
Site-specific installations
Large-format generative works for lobbies, atria, and public programs. Designed in dialogue with architects and curators to hold a specific room in a specific light.
Identity for cultural institutions
Visual systems for museums, festivals, and editorial programs. Built from a single generative rule, then extended across type, print, and digital — never the other way around.
Studio collaborations
Long-form partnerships with other independent studios — typographers, ceramicists, sound designers. We open our rule-set, you open yours, and we make something neither would have made alone.
Workshops & lectures
Half-day and two-day workshops on writing generative systems for physical output. Currently offered in Tokyo, Berlin, and online for graduate programs and small studios.
How a piece is made
From a single rule to a held object.
Every commission follows the same quiet arc. There are no surprises in the schedule — only in the work itself.
01
Brief & conversation
Two or three long calls, a shared folder, and a one-page brief — your room, your intent, your constraints.
02
System design
A generative rule-set is written in code, then stress-tested against hundreds of iterations before anything is made by hand.
03
Material translation
The chosen system is transferred to paper, ink, fabric, or screen. The hand finishes what the algorithm began.
04
Catalogue & delivery
Each piece is signed, catalogued, and shipped with a printed certificate describing its rule-set, edition, and provenance.
From collectors & collaborators
A studio is only as honest as its last conversation.
Notes from a few of the people who have lived with the work, written a catalogue essay for it, or built a room around it.
We commissioned a 12-piece edition for the foyer of a building in Marunouchi. Six months later, the work still teaches the room how to be quiet. That is a rare thing to buy.
HT
Jun's work refuses the easy trick of the algorithmic image. The code is in the service of the paper, never the other way around. It is the most disciplined generative practice I have reviewed in the last decade.
EM
We have three pieces from the Strata series in our home. They change with the light, the season, and, I am almost certain, the mood of the room. Living with them is a small, ongoing conversation.
DK
Currently accepting
Two commissions for autumn 2025. One open call for collaborators.
The studio's calendar opens in September. If you are considering a piece for a private collection, an institutional program, or a long-form collaboration, the next step is a short, unhurried introduction.