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I Want To Check The Shape Of Tree 

Fragments of contemplation

Since the pandemic, I've found it increasingly challenging to create works centered around a single theme or concept.

The intrusion of external imagery, primarily through advertisements on the internet and the inundation of context-less (to me) everyday photos flooding social media, as well as the personalized world views portrayed by various artists, make it difficult to metaphorize photography along a single axis and visualize the world I perceive as a whole. The modern world is too diverse, and presenting just one aspect of it as representative of the entire world is problematic. This challenge has become even more pronounced with the advancement of technology.

Therefore, I've decided to present my contemplations on the fluidity of photography over these past few years. Rather than narrowing down to a single concept, I aim to visualize the evolving landscape of photography, hoping to bring myself closer to understanding the entirety of the world I see. Upon reflection, the notion of "being multiple," both in terms of multiple photographs and multiple words, seems to resonate deeply with the idea of "expressing the whole."

In light of the pandemic prompting a reevaluation of the boundaries between the internal and external, I continue to ponder what photography can achieve now and in the future. Additionally, I've resolved to continuously add photos in sync with my contemplations.

Interference with the External:September 2023

As we spend more time at home, we find ourselves encountering photographs more frequently, whether online or in books.

Among them are images of natural landscapes like mountains and rivers, bustling urban scenes filled with people, and vast foreign vistas unfamiliar to us. However, within these images lies not just the scenery itself but also glimpses of the photographers behind them, equipped with appropriate attire, camera gear, and a mindset geared towards surviving in those environments.

Looking at photographs taken under the influence of external surroundings, in the most intimate of places for anyone — the 'home' — prompts a recognition of the fundamental function of photography: to "reiterate past landscapes from a safe space." Yet, these photographs also inadvertently incorporate a poetic quality bestowed upon them by the photographers, rendering them mere fragments of the world viewed from vastly different environments within the confines of the 'home.'

In contemplating these images, one wonders what experiences viewers can glean through them. While humans perceive their surroundings through various sensory functions, relying solely on the sense of 'sight' as manifested in photographs might detach the images from their original landscapes, reducing them to mere representations.

Space and Place: The Perspective of Experience:September 2023

Geographer Yi-Fu Tuan, in his work "Space and Place: The Perspective of Experience," suggests that humans inherently require both 'space' (the external world) and 'place' (the home), navigating dialectically between shelter and adventure, dependency and freedom.

Thus, how do we experience the 'external world (space)' through photographs, and how do we establish connections from the 'home (place)'? Through probing the essence from the gap between these two images, we seek to reconsider what lies beyond the gaze through which humans perceive the world.

Photography as a Sphere:December 2023

We want to unleash photographs from the confines of any predetermined framework, such as texts, concepts, or the public image of the subject. Instead, we should perceive them as a collection of individual images that stand alone, much like untethered spheres.

It seems that people derive pleasure from perceiving the outside world through images disseminated via the internet, television, magazines, photo collections, and the like.

Since the pandemic, the proliferation of images has rapidly accelerated alongside advancements in technology, making this trend even more pronounced.

From a collection of photographs devoid of guiding contexts, viewers will inevitably attempt to interpret the images by forcibly linking them to their own experiences and memories.

This process might unveil unique perspectives for perceiving the world that cannot be observed through one's own consciousness.

We want to examine the autonomy of photography from a perspective detached from truthfulness or falsehood as a medium of media.

A Look from the Past:January 2024

A lens with a focal length of 35mm creates a distance to the subject that is greater than what the naked eye perceives.

This sense of distance is the fine line where the subject can be recognized as itself.

Conversely, it means that there is also a distance from which the subject can recognize oneself. When you view a subject, you are simultaneously being observed by the subject.

The sudden recognition of a subject, much like a chance encounter, recalls the superficial recognition or understanding of things through internet searches.

From the perspective of visual communication, what can be gained from images based on the detached relationship with the subject?

Thirty Ghosts, Once Again​:January 2024

"In 'Other Space, Other Points,' the concept was to materialize thoughts through photography.

I attempted to communicate with people who lived in the past. The outside world is filled with artifacts of those who lived there, and the gaze from the past is directed at us, living in the present.

When I look at the subject, I am simultaneously being looked at by the subject. This is an encounter with the past, or rather, communication that transcends time and space.

Since 'Other Space, Other Points,' I have continued creating using digital cameras, but I digitize (informationize) those ghost-like subjects and expand my work on the internet. The photographs, appearing there as 'digitized monuments,' scrutinize us living in the present and offer something to us."

The Imaginary Forest:February 2024

While driving towards our destination, a companion exclaimed, "Oh, a forest!" The forest in question holds a special significance for me, bearing a unique name and serving as a place where I spent my student days. However, the moment another person vocalized "forest," the relationship between that forest and myself underwent an instant reset, reducing it to an abstracted "forest" in their perception. Despite my personal connection to the forest, I could only reply with a simple, "Yeah, a forest," oscillating between the tangible reality and the abstract image it had become.

Similar to this abstraction experienced in verbal communication, the act of photographing also carries a layer of abstraction. When a viewer observes a photograph of the forest of memories, they perceive only the abstracted "forest" on the screen, while the photographer's personal memories seep through the cracks, leaving the viewer with only the surface image. There exists a parallel between verbal and photographic abstraction, with both forms of communication engaging in a form of two-dimensional representation.

Amidst this parallel abstraction, I find in photographic abstraction the potential for a "two-dimensional language" that transcends the "actual landscape" and its verbal representation. Stripped of meaning through abstraction, photographs become blank slates onto which viewers project their own interpretations based on their experiences. My endeavor is to create a new language through photography, one that unlocks the potential of the two-dimensional medium.

Do you want to meet ghosts?:February 2024

Since childhood, I've been interested in horror movies and supernatural shows.

While trembling at the terror of ghosts appearing on the screen, I found myself peeking through my fingers, fixated on the screen.

Why are people drawn to scary things?

Perhaps it's a physiological response ingrained in human nature to protect oneself, to quickly notice potential threats.

If so, it seems that this instinct and the curiosity that leads us to seek out fear are two sides of the same coin.

From spirit photography to TV shows, the history of the supernatural is inseparably linked with visual media.

After watching supernatural programs, I couldn't go to the bathroom at night and had to sleep with my head covered by the blanket. The ghosts on TV lingered in my mind even after the screen went dark, turning the hallway of my house into an object of fear. The essence of the supernatural lies in its ability to make us believe, despite knowing it's just imagery, that "they might actually be real."

The amplifying power of this imagery infiltrates our daily lives, particularly noticeable in the realm of the supernatural.

What is the source of this power? And is it exclusive to the genre of the supernatural?

Although the horror boom of the early 2000s has passed, and the boundary between mediums like painting and graphics has become increasingly blurred in the modern age, movies and specials are still aired every summer like clockwork. The relationship between the supernatural and media, deeply rooted in human nature, leaves us wondering where it's headed.

Silent gaze:March 2024

Until starting production through photography, I primarily engaged in production through painting. After conducting research in graduate school, I have been presenting works primarily focused on photography. However, I feel that my perspective connecting photography and painting has been limited to surface aspects such as color and composition, typical of two-dimensional painting. I was interested in capturing subjects as lines or surfaces traversing the screen and exploring the visual effects they exert.

Capturing subjects, aiming the camera. Changing angles, capturing two or three points around the subject, and fixing the image on a support through light. Looking back, this act condensed various perspectives of the motif, scrutinized details, and concentrated changing time and angles. It evokes the "observation of the motif" in painting, manifested on paper using lines and surfaces.

Photography, an accumulation of "momentary observation" defined by the camera, and painting, where one determines the time to observe the motif and meticulously gathers lines and surfaces. Both methods of expression not only rely on the medium's constraints but also on the "observation" accompanied by their respective times and supports, manifesting in two dimensions through a very primitive act.

Photographer William Eggleston stated, "Photographs are about the overlapping of various realities, not landscapes but observations." There seems to be a common recognition of "the manifestation of space spun through observation" in both photography, where space is woven through the overlap of realities, and painting, where multidimensional space is constructed through the aggregation of lines and surfaces.











外部への冒険: 2023




















『Other Space, Other Points』では写真による思考の物質化をコンセプトに



『Other Space, Other Points』以後、デジタルカメラを使用し制作を続けているが、幽霊のようなその被写体たちを









































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