いつもきっかり同じ時間に同じ交差点を同じ服装で駆け抜けてゆく青年がいることに気付いた。その存在に魅せられそっと後ろ姿の撮影を始めた。2019年春から2020年のコロナ禍により姿を見かけなくなるまでの約1年間の記録。    2020.10


  I noticed that there was a young man who always came running across the same crosswalk at exactly the same hour every day, wearing the same outfit. Drawn by his presence, I began to point my camera towards his silhouette. The photobook recorded his appearance at the intersection from Spring 2019 for nearly 12 months until I stopped seeing him after the outbreak of the pandemic.      October, 2020


顕れ       -Esの顕れは疎外を転倒させるー

Emergence    —The emergence of the id overturns the Entfremdung theory—

 行動の動機や感情は、からだの闇の中からいつの間にか湧き出して素早く意識と同化しようとする。意識はその成り行きに違和感を覚えると流れを止めて、<私>はどうすべきかと考える。意識に先立つ何か=Esは、経験を蓄積して行動を効率化する領域と、欲動の領域があるように思え、その最深部では人知の及ばぬ原理や五感の外側のような未知の外部に接している気がする。Esは無意識の視線の動きの中に顕れる。その視線が指すものを捉え、問い続けることで、生の可能性を拓くことができるだろうか。 2019.10


  The motive of our actions and the emotion spring out from the darkness of our bodies before we know it, and quickly try to merge into our consciousness. The consciousness then stops its flow as it senses incongruity in this transition, making “me” wonder what I am supposed to do. The psychoanalytic concept of id, or what precedes our consciousness, seems to be divided into one region that accumulates experiences in an effort to streamline future actions and another area of instinctual drive. I feel its deepest part is in contact with the unknown, external realm, such as the principles that are incomprehensible for human intellect or those that are outside our five senses. The ‘id’ emerges in the movement of the unconscious perspective. By capturing the target of this perspective and questioning it, would humanity be able to unlock the possibilities of life?        October, 2019




The world we see     

 人間の作り上げた価値の中に世界は在り、モノとコトは混交し愈々以て判然としない。  2019.1


  The world exists in the values defined by humanity. Here, tangibility and intangibility interlace,  making the world we see even more vague.      January, 2019



I am that I am

私の意識が気付く前に、視野を見渡し事態を把握する<何か>がいる。意識にそれを見ろ、判断しろと促し続ける、もう一つの隠れた存在。   2017.9

  When I walk aimlessly with my camera in my hands, somehow, I often come across a scene that draws my attention. Sensing the unknown feeling, I point the camera towards it and rotate a few dials to adjust my composition as I concentrate all my attention on the frame. Why did I see this scene? My eyes were already caught by it before I knew, and I am still gazing at it. While most of us may describe a situation like this as “I just felt like it”, when we think about it, this is such a terrifying event. Was it really “me” who “felt like it”? How did I end up noticing the subject in the first place? I began to get agitated about the fact that I became aware of this only after my eyes detected the scene.  

  Before I become consciously aware, “something” within me glances around in order to understand the situation. The hidden presence of this scene attracts me and then continuously pushes my conscious to see and evaluate it.    September, 2017                                                                                                                


The Wholly Other



 撮影は直感の中にある。気になる対象を見つけても「ああ、これはこういうことだな」と心の中で理解出来た写真は、どこか画面が説明的になり それ以上の広がりを感じない。だから理由がわからなくとも対象から受け取った感覚を信じること、例えば胃が少し引っ張られるような鈍い違和感、それが過ぎ去る前に撮っておく。ひどく繊細な無意識からの信号は様々なかたちで現れ、方法として確立しないが、撮影を繰り返すことで未知の感覚や長い間忘れていた感覚へ降りてゆけるような気がする。


 「他なるもの」という題名は、ヌミノーゼの本質の説明として彼が用いた「全く他なるもの」という言葉から取った。神や宗教というものに対してずっと遠巻きに眺め、こういった事柄に近づくことに抵抗があったが、今になって心に響いてきた。これも、あの震災があったから導かれたことなのだろうか。一見、別の事柄に思えることでも、世界のありようはいつの間にか私に浸透して、やがて写真にも現れてくる。私が求めているものに畏れに似た感覚が混じり始めたのは、いつの頃からだろうか。   2013.3                         


   People often ask me what kind of photography I take. This question always confuses me. I think what I am trying to do with my photography is seek answers to the radical questions of what life is, or the mystery of being in this world  . But probably, that explanation would make it too difficult for them to visualize what my pictures actually look like. The majority of things can be explained by looking at their images. Yet, I am trying to capture an image I still don’t understand. I always wonder what the biggest mystery of all is. What is it that puzzles me the most? 

   Instinct inspires photography. Even if there is a subject that one finds interesting, pictures taken after photographers have a good grasp of it in their minds become too explanatory and closed. This is why I try to believe my perceptions of the subject matter, even though I cannot make anything out of it. It is the dull discomfort, for example, as if your gut were pulled to the side by a weak force. I try to take my chance before that feeling is gone. This very subtle signal from my unconscious makes an appearance in various forms, therefore, making it hard to establish as a method. Nevertheless, repeating this process over and over infuses me with a feeling that is undiscovered or long lost. 

   For reasons I cannot remember, I started to record anything that came to my mind in a notebook. On one page of this notebook, I found the word Numinöse (Numinous), a term proposed by philosopher, Rudolf Otto. Otto explained this concept in his book, “The Idea of the Holy.” After reading the book, I realized that the concept of the numinous is what I have had experience with. When I camp out alone, to take photographs, and have no one to talk to, or when I hang out in my room, looking out the window, I am often overwhelmed by fear out of blue, for no reason. What is this world exactly? Looking down at my arms and body, I start to lose sense of what they are. Completely detached from the community, we are being exposed to the world so defenselessly, without even knowing why we exist. This enormous awe of the external world and the trance-like state that is revealed in parallel, are what I understand the Numinöse, the fundamental perception behind various religions, is really about.

   The title “The Wholly Other” is taken from the term, “wholly other (ganz Andere)”, which was used by Otto to describe the nature of his Numinöse concept. I had always distanced myself from gods and religious beliefs. I had a hesitancy towards those things but lately, they have begun to resonate with me. Was I led to this awakening after I experienced the earthquake? Although things may look different than what they really are, this way of understanding the world permeates me unknowingly, and will eventually be transcribed in the photograph. Since when have the traces of this sentiment, similar to fear, started to appear in the subjects I attempt to capture?      March, 2013