Imagine walking along a mountain stream, in a state with no words to describe it. To confirm its existence, you perform acts of collection as proof. A collection is an object that invokes an image of that existence, and is a part of the existence.
By performing the act of collection and extracting an image, you try to replace the image. Doesn't doing so strengthen the meaning of the existence of the mountain stream?
Born 1991 in Ibaraki Prefecture, graduate of Tokyo Visual Arts Photography Department.
Solo exhibitions include "Its" (Nikon Salon, Tokyo, Osaka) in 2016, group exhibitions include "RAIEC TOKYO 2017" (3331 Arts Chiyoda) in 2017.
The process of shooting, collecting, and choosing (picking) photographs is a way to represent the harvest of plants and implement it into the photographs themselves. It can also be seen as an ironic statement on the physical characteristics of photographs. I believe that looking at photographs on a screen is too simplistic and usually I have to imagine how the original picture would appear different while looking at it. However, this time, I judged the pictures based on the strength of the experience they provide when looked at through a monitor, for example during an online contest. Morita's pictures had a different kind of appeal than the others within the exhibition.
Just as the humans are part of nature, nature has been affecting our lives since the dawn of time. In its many forms, such as the flora and fauna, mountains, oceans, microorganisms… nature has soothed us at times and threatened us at others. In such a way, it talks to us using its many voices. How do you hear these voices? How do you understand them? We are waiting for your answers from your photographs!
[Submission Period] from May 31 to July 31
Born in 1963, Shingu City, Wakayama, Japan. In 2000, he was awarded the 25th Kimura Ihei Award with his book, “Piles of Time”. He has published many books such as “Water Mirror” (produced by Fine-Art Photography Association, published by Case Publishing), “Étude” (SUPER LABO), “SAKURA” “White” (edition nord), “Between the Sea and the Mountain” (amanasalto), “Atelier of Cézanne” (Nazraeli Press), “Kumano, Yuki, Sakura” (Tankosha). He now teaches a course on intermedia art at Tokyo University of the Arts.