VIDEO(14分45秒・1920 x 1080 pixel サイズ可変)と展示(写真3点)


“Between Light”

All machines that take photographs are essentially pinhole cameras. Even cameras of the highest quality don’t change in this basic aspect. The pinhole becomes the center of the world, the Big Bang that was the beginning of space.

It is the action of looking at scenery, of going further and trying to describe it head on. It is the feeling of expanding internally and externally as the pinhole itself becomes the myriad of sensors you have and fuses with the world. When you realize that you are the pinhole, you lose the meaning of “existence”.

It rebuilds a single timeline from the semblance of incertitude and discontinuation of worldly things. As a clue, or a catalyst, to know the true form of something, I try to put a small “um”, imperceptible and out of reach, in the cracks in this timeline. Once you realize that all of space is filled to the brim with pinholes, “um” also becomes a pinhole of sorts. The “um” that is supposed to be a crack instead becomes the beginning for everything.










VIDEO(23’36”・1920 x 1080 pixel サイズ可変)と展示物(石、流木、写真)


24sec.demo on YouTube


This work began as a rethinking of the Japanese “School of Things” (Mono-ha).

The somewhat obligatory video (the background) that is shown is just an excuse. There are no things/objects here that you will not have seen before. The video is just a recording of ordinary daily life; where unexpectedly, unpreparedly, a “story” is transcribed.

What is recorded and felt in this video is the fact that I am living; that is to say, I am not standing still. The idea of “stillness” is neither causing the subject to stand still, nor is it that illusion which we call long exposure, where we try to capture a single instant. It is something that cannot be understood through photography.

I take care to neutrally record a video that tells as much as possible, seeking to intimately link it with the hasty and imprudent. There is no plan to a tale in this video. Its aim is only to take in the situation. Therein lies an existence that comes to be seen through the careful attention paid to the feel of original materials which predate the individual works. I take “time”, which has taken these and restructured them, and confirm its true appearance.

By layering videos with no plan upon each other, it can feel like a “painting” made by layered colors. What is the meaning of its light and dark, color development, motifs, style, or strokes? Calling it “good” is no more than an emotional reaction; this could even just be an illusion that recognizes the slight care taken in gradation, an aspect of art always looked upon with favorable bias.

I merely put a rock down. With only this action, our relationship changes. To go further, the relationship for you (the viewer) sways and shifts with nothing but this slight change. Are you aware of grappling with every day occurrences or your own actions? What tale do those records, which are completed and (considered to be) pointless, and your gaze tell, I wonder?

The exhibition items are the ruins of the Mono-ha












VIDEO(1920 x 1080 pixel サイズ可変)と展示(写真)


・朝顔(撮影;2013)+lanscape 特殊装置による8つのイメージ(2015)





Pure light but vague faces. Unclear colours. Digital photos of black and white. Colour photos that look perfectly natural are reproduced in this way through composite techniques. The pseudo-colours you see through the little cracks are colours that have been synthesised. How can you let slip by the feeling that somewhere within the work lie the true natures of the simple blurs and barely-grasped colours?

The images taken by my home-made equipment cannot faithfully replicate the form and colours of the original. What of the trifling countryside, of the sun?  The recorded image is thus a failure due to the photographic process itself. What can be seen in that narrow space between reality and the slowly fading photograph?

How do we approach an image designed with no specific intention? What is its truth, its reality?

This is an attempt to reconsider the -spectrum- collection from 2009 and the -landscape- collection of 2012.







表参道画廊ミュゼF ・東京




Exhibitions titled “Atelier/Gallery” are not places where the power of the space completes previously unfinished pieces. Much less are they a place where one can emphasise the shared artistic foundations of, or unique qualities of, arranged and unnatural “installations” that are based on the very act of creating them, or related to something thereof.

Galleries are, in general, places to dress up carefully selected works and present them to visitors. Quite “naturally”, of course.

Ateliers are workplaces. They house remnants that can’t be shown and works that haven’t been made. Strictly speaking, this is therefore not an atelier. However, calling it such provides a chance for you to encounter more informal works, or works which may not normally be displayed.

The “Atelier/Gallery” is an effort by artists to reflect on viewing and exhibiting in the artistic process, providing a space in which to display various framed yet unfinished works. It achieves this by combining artists’ uncertainty, time spent in thought, the finesse of a gallery, and the ambiguity of everyday life.











Please, make yourselves at home. Set in Room 202 Moribayashi Heights, the work “202’s Living Room” is expressly aiming for this special, natural living room feel. Everything exhibited is simultaneously there as art, as furnishings, and as props.

Choose any video you wish. If you are short on time, you can also fast-forward through them.



「坂田峰夫+山本和弘トーク 」




Tokio OUT of Place


VIDEO(40分・1920 x 1080 pixel サイズ可変)とプリント作品の展示




“Lux” is the Latin word for light, and can refer to physical light or the light in a person’s heart that dispels darkness and fosters hope.

“Spectrum” comes from the Latin “specere”, to see, and originally means “what can be seen” or “what appears”. “Spectare” is something that appears without warning.

「spectrum」 is an image of captured light, and does not share the flower motif that permeates the other original photograms shown herein. For those flowers, unlike here, the underside and silhouettes of the see-through petals are fixed in place. Rather, the light itself that passes through that translucent motif is captured in the photosensitive paper. Using photographic techniques, this paper fixes the slight tremors of that underside of light which forms spectra. Though 「spectrum」varies greatly from the flower photograms, it is certainly an extension of previous works.









・Find the flower(1994-)



・about Mineo Sakata