WORKS

Moving Images

STILL LIFE No.1

This work is the revelation from the objects through my daily life, or my expression of the feeling about passing time.

STILL Space No.1 No.2

This work is the revelation from a landscape weaving light and shadow.

Landscape in Japanese is Fuu-kei.
Fuu (=wind) means change with the passage of time referencing in the Japanese Fuu-ka (=weathering).

THE TIME I WAS

I feel the world seen through a camera gives me more objectivity than the world seen with the naked eyes. In this foreign land, I was just an only visual being, followed things frame in my sight and frame out my sight. This video I made is a bunch of time that I arbitrarily stretched and shortened the accumulation of these things.

Landscape Flicker

Through these process, I attempted to transform the urban space captured by these photos into multiple worlds

Three-dimensional works

COLOR INDEX

When I was a child, things were always the same color.

Each thing had its own unique color—the blue clothes I wore were always the same blue.

This perception was first shaken when I was nine or ten years old, when I heard my teacher at school say:

“The color of an object we see is the color of the light that hits the object, and is reflected instead of absorbed.”

From then on, I started carrying things to different places, observing them and wracking my brain.

Without being able to hit upon the idea that my brain was instantly correcting my vision, I tried to understand my teacher’s words, not by thinking with my head, but through physical experience.

That hasn’t changed at all, even now that I know that light is a wave with color-specific wavelengths. Colors are always relative, and they continue to change within our memories, without us ever noticing.

Is there a way for us to intuitively understand this fact?

Could we fill in the gaps between reality and physical sensation using photography’s ability to objectively record what we see?

I shot for about four months, changing up the place and time, fixing every setting but the shutter speed, and did no retouching but trimming.

I chose ocean waves as my subject because they’re ever-changing, and their relationship with the sunlight is always different, so I could expect vast changes in color. Perhaps I felt that I could reveal the truth about how striking the fabrication of color in our memories is for this particular subject.

As I was shooting, it was difficult to tell which colors I was seeing. By juxtaposing prints with previous photographs, I was able to relatively judge their hues for the first time, but the tones of color in photos with improper exposure (e.g. too much light) wildly jolted my perception.

The color correction done by my memory and experience was much stronger than I’d imagined.

I summarized my work in the form of a specimen case, which is based on how I feel about color.

The printed photographs felt to me like material things I had found strewn upon the beach, like shellfish or seagrass, rather than images of a moment in time.

To me, color is inextricably connected to the material world.

What I See

Last year I created a piece titled "COLOR INDEX."

This piece is about color in which, over the course of about four months,

I took photos of various waves dyed by sunlight.

"I wonder what color of wave I can photograph today."

That was the only thing on my mind while sitting on the beach and releasing the shutter.

A change of thought occurred, however,

when I was in the process of organizing photos and turning them into an art piece.

"Was it not "light itself" that I was gazing at rather than the waves? "

I could say that I was looking at waves of various colors,

but it could also be said that I was looking at light itself,

which was borrowing the wave as a substance.

The existence of either will not be visualized unless both are present.

"Light and substance are complicit.

You cannot see substance without light, and you cannot see light without substance."

The image being projected from the projector is light itself, and for this piece,

Box A = applying movement to the substance that is the screen,

and Box B = causing interference with the light due to exposure from the opposite direction.

Therefore, this is an attempt to express the relationship between light and substance.

Furthermore, the projected image is film that I took of a place I studied the light of for some time. I temporarily exported the JPEG images at 30 images per second, added an effect to each one using an imaging software, then restored it to video as an animated GIF.