kakuunohito works
An observer's note.
Polytope1
Series concept:
The mass of the material is chipped off in the photograph, and there is also no unevenness due to the stroke of the brush, so it is only on the surface.
Maybe the way of looking at what it expresses varies according to the feeling of the person looking at it, and they can look at the surface at a glance.
With the photograph as the medium, I mix reality and fiction, and by the process of creation, I’m creating the work while facing reality and fabrication myself.
As for transversing the solid body and the level surface, even though I’m dealing with reality and fabrication directly, I think it’s a suitable method.
Up to now I’ve been making a series of photographic works using an organic design, but although I’ve tried to represent the space with the same method, it hasn’t been successful.
By means of whichever organic design, the atmosphere of how I thought the space should be expressed was obstructed.
Because of this, I stopped using wire and thread, made a more simple solid object with paper, and I represented it at first glance as an inorganic space.
A familiar scene made into a motif.
I captured that scene in the photograph and made it into a work by making it into a solid object with the unneeded forms simplified, then took the photograph again.
The shining of the light brings it closer to a photograph made into a motif.
Ultimately, I’m attempting to extract something which has a connection to my spirit.
It could be said that the theme of this series is me as the subject looking at that scene.
By making this series for this space at the same time as the “Fragment of LTM series”, I wonder whether the contrast and blending of organic and inorganic things comes out.
In all, with the blending of the subject and environment, I hope to enlarge upon my theme of the state of reality and fiction.
I made the title of this series the “Polytope series”.
Fragment of LTM
Series concept:
Fragment of Long Term Memory (LTM), an ongoing photographic series, conveys an unrealistic world through fragments of reality. My understanding of reality comes from its moments of beauty, sadness, fun, perfection, and those days when nothing special happens. Many parts of our memories, however, are often forgotten, or difficult to recall. I retrieve those fragmented moments and reconstruct them as surreal images. I gather these misplaced memories from certain parts of our reality, and together they create a non-linear story, resonating with each other in my photographs.
I shoot landscapes as well as self-portraits in which I appear painted white. I also use materials such as body parts and models of buildings that I make myself using clay, wire and paper to make this unrealistic world. The work puts audiences in the ambivalent position of not knowing what is real and what is not.
My art shows that those two worlds—reality and fiction—are very intimate, and often appear without clear distinction. Reality is a key to access the unrealistic world, and unreality is also a key to access reality.