In the following interview, conducted earlier this year, Kodaira discusses with Japan Exposures his two major series to date, “Dr. Lorentz’s Butterfly” and “Onbashira”, how he came to photography, and his relationship with Otsuji, a major influence on a number of Japanese photographers. In addition to the photographs represented here, you can also view an extended gallery of Kodaira’s work.

Interview by Yu Hidaka for Japan Exposures.

Japan Exposures: First of all, as a way of introducing you to our readers, I would like to ask you about your solo exhibition entitled “Dr. Lorentz’s Butterfly”, which was held at the AiDEM PHOTO GALLERY SIRius in Tokyo in 2002. For the show, you brought together work done over many years, didn’t you?

Masahiro Kodaira: Yes, “Dr. Lorentz’s Butterfly” was a major outgrowth of many years of work. I had some experience to have my work exhibited before, but this was the first exhibition where I had a clear idea of what I wanted my photography to say. I was looking for the place to show my work that didn’t already have a fixed style or image attached to it. That is to say, not galleries run by camera companies, not small underground types of spaces, and so on. Instead I was looking for a gallery that was open to all genres. Then, I came across an opportunity to try for an open call that was issued by SIRius, and I passed the review.

JE: SIRius has a quite large gallery space compared to other places in Tokyo. How many photographs did you exhibit there?

MK: I showed 30 photographs there. Although usually solo exhibitions held there feature about 45 works, I chose 30 images because I thought the relationship between the works and the white space of the gallery walls important to creating a kind of tension. But after the show, some people told me that fewer photos might have been better for that purpose.

JE: For me too, as a viewer, I remember that exhibition as the first time I had a clear understanding of your work. When I looked at your photographs, photography’s particular way of representation was readily apparent to me, and I was slightly surprised at this. This was probably the first opportunity for you to highlight this aspect of your work, wasn’t it?

MK: Well, it’s true that I am interested in photography’s form, but strictly speaking, how my works look is not my goal. It’s just an outcome of pursuing what I want to express with my photographs. The particularity of photographic representation just helped me to say it. For example, take the abstract concept of “beauty,” which art can help to make concrete and easy to see and understand. I feel that the photographic form can be an essential tool to express photographers’ message.

JE: What surprised me about your show was that, in a sense, the formalism of your photography seemed too “classical” a way for a photographer to express themselves at that time. Around 2002, when I visited your show, photography of younger photographers rarely focused on formal things like composition. Subject matter, or such things like blurry images or grainy images stood out more in other photographers’ shows. Most photographers seemed to rarely care about photographic composition, and only use those techniques and styles that are popular at that time. Some didn’t know that formalism was one of the crucial means of expression in photography’s history, especially in the modernist period. Maybe this is, in part, a failure of how photography is taught in Japan. But your work is quite different.

MK: For me, art history is important. I think that the situation of young people born in the 1990s is different from that of my own generation. They happen to have been born into an information rich society that’s superficial. Because of that, perhaps they’re interested less in formalism and more in textures or the unexpected, by which I mean taking familiar, everyday objects and shooting them with medium or large format cameras, or in close-up, in order to create a raw “anti-everyday” reality. For those photographs, composition is difficult to create. I think that the fad of shooting 6×6 color film of the last few years represents the desires of both photographers and viewers. In my opinion, I think that the role of art has historically been and continues to be one of solving life’s mystery. I also belong to this history, but I use my awareness of what has been done in the past to forge my own way of art. Photography is also an art of form. I want to grasp the mystery of life with the help of the concepts such as beauty or formal “balance.” Why do people say that something is beautiful, or why do people find balance in something — what do such things mean to us?

“In front of me, the world spreads out, uncontrolled by my intentions. I had such a sense when I took these photographs, and wanted to take photographs where the past and the future meets.”

JE: Since art history is important to you, I’d also like to ask you about your own history. I believe that your education at Tokyo Zokei University, where you graduated, and your relationship with Kiyoji Otsuji, were crucial to your development, weren’t they?

MK: Yes, that’s right. Before I entered university I had studied the practical basics of art at a kind of “cram school.” So, I was able to concentrate on photography at university. When I was in my forth year, one of my professors, Kazuto Miura, introduced me to Otsuji-san, who many of my professors had studied under. At that time, he was already retired and pretty much confined to his home, and so some students including me went to visit him and to arrange his negatives in his house.

Whenever I visited him, I always felt like I was visiting my grandfather. I visited his place almost every day for four or five years, before he passed away. What I learned from him is that I should continue to pursue my own way of photography. Like some other photographers who also had close relationships with him often say, I always ask myself, “If he were living now, what would he say about my photographs?” This question is a kind of litmus test for how I think about my own work.

Incidentally, “Dr. Lorentz’s Butterfly” wasn’t the title I originally had, but Otsuji-san pointed out to me that my original title sounded stiff, so I changed it. The day that I decided on “Dr. Lorentz’s Butterfly” was also the day that Otsuji-san passed away, so I wasn’t able to share with him the new title of my show.

JE: What originally triggered your interest in photography?

MK: When I was a kid, I already had an interest in art. The first book I bought when I was a junior high-school student was an anthology by Escher. Then I came across the book by Jung and Wolfgang Pauli called “The Interpretation of Nature and the Psyche.” After reading this book, I felt that I had found a clue as how to articulate in art what had been up until then just vague thoughts.

JE: Does that mean that you were first interested in producing something artistic or cultural in the broad sense, rather than specifically photography?

MK: Well, first of all, I wanted to be a painter, so I thought it would be better for me to study painting. But some friends that I made at the “cram school” were able to paint precisely what they wanted to paint on canvas. In such an environment I realized that it might be difficult for me to be a painter. So, when I entered Zokei I chose to join the department of design and gave up my desire to be a painter. At that time I also had interest in typography and graphic design.

JE: Then you came to photography?

MK: Yes, that’s right. I tool some photography classes, and found that I wanted to pursue photography. When I saw my professor [Akihide] Tamura sensei’s work entitled “Afternoon” at a group exhibition in 1993, I was taken aback, and this work was the trigger for me to start concentrating on photography. I learned a lot from one class in particular. This particular class required me to visit about 100 galleries within a year and to write an essay about each exhibition I attended. Also at this time I was “collecting” photography and art magazines to supplement my studies. When I started studying on photography, I thought it was easy to take photographs. However, when I saw that taking photographs of the world around me was a way to represent myself, I came to realize the profoundity of photography as a medium.

JE: Your next exhibition after “Dr. Lorenz’s Butterfly” was “Onbashira.” I imagine that you had to take some risks to show “Onbashira.”

MK: Well, you know, the show “Onbashira” deals with a festival in Japan*, so quite a few people reacted like, “Why did you take photographs of festivals?” Many people who had visited “Dr. Lorentz’s Butterfly” expressed disappointment and said it would have been better if I had kept the direction of that show. But some photographers also appreciated this exhibition. Although basically I seldom take photographs of people, I wanted to experiment with taking snapshots of people for this series.

JE: Certainly at first glance, this series appears to be different from “Dr. Lorentz’s Butterfly.” For me, as someone who knows your position vis-à-vis the history of formal art and photography, some parts of “Onbashira” seem connected with the conception of the previous show. Both exhibitions show an adventurous pursuit of the possibilities of photographic form. Yet each show is received by viewers as completely different. If people concentrate only on the content of your photographs, there is a danger of them missing the forms that are there for them to discover, though.

MK: It’s easy to miss this aspect of my photography, because they directly represent the past traditions of Japan.

JE: People tend to look only at the surface content of photographs and overlook the aspect of photography as a transformed reality. But such way of looking is not enough. At a festival which is very dynamic, you look at the movement of the world in front of you through your viewfinder and release the shutter.

MK: In front of me, the world spreads out, uncontrolled by my intentions. I had such a sense when I took these photographs, and wanted to take photographs where the past and the future meets.

JE: Finally, could you let us know what you are doing now?

MK: I sometimes do black and white printing, and I had been making new prints of Otsuji’s work for the show called “Jikken-kobo,” (“Experimental Workshop”), which will be held in the UK in this October. I myself am preparing for a solo exhibition called “Tsuzukinokawarini” to be held from June 9 (Tues.) to 15 (Mon.) at the Gekkoso annex KONPARU Gallery in Ginza, Tokyo. Then, if possible I would like to publish a book of my work.

* Onbashira (literally “honored pillar”) is a festival that takes place in Nagano Prefecture once every six years.
 

Yu Hidaka is an Assistant Professor at Gunma Prefectural Women’s University, where she teaches on visual culture. Her book, Reading Contemporary Photography: Toward Democratic Vistas, will be published by Seikyu-sha this June. She has written on photography and other forms of visual media for various Japanese publications, including Studio Voice and Asahi Camera. She received her MA in the Course of Culture and Representation from Tokyo University.

Related posts:

1. Masahiro Kodaira Gallery Japan Expo
2. Masahiro Kodaira – from Dr. Lorentz’s Butterfly series Masahiro
3. Interview with Marc Feustel On current

Since 1999 he has been an associate professor in the Department of Inter Media Art at the Tokyo National University of the Arts (known also as “Geidai”).

Tokihiro Sato’s work has been exhibited extensively internationally, for example as part of the 1997 6th Havanna Art Biennale and the 9th Asian Art Biennale, Bangladesh (2-person show) in 1999. He is represented by Gallery GAN (Tokyo), Leslie Tonkonow (New York) and Haines Gallery (San Francisco). Solo exhibitions of his work have been held in various locations in Japan and abroad, such as the Sakata City Museum of Art and the Art Institute of Chicago.

Most recently he has been working on a project on the theme of relationships with others as well as since 2000 the Sightseeing Bus Camera Project, where lenses are mounted onto the side of a public sightseeing bus to project the passing scenery onto a screen mounted in the middle of the bus.

In 2005 a book entitled Photo-Respiration was published in English by the Art Institute of Chicago. However, a book with the same title containing a very similar spectrum of work was already published in Japan in 1997 by the Nikkor Club*.

The Photo-Respiration series is Sato’s most well known work. When we approached him with our request for a cover photo, we were delighted to learn that he has been continuing to work on the series up until now, as the above 2008 image Shirakami #1 illustrates. Photo-respiration consists of two sub-streams, Breathing Light and Breathing Shadows. To make these photographs, Sato opens up the lens on his 8 x 10 camera for an extended exposure, sometimes up to three hours, and subsequently physically enters the scene in front of the frame. In Breathing Shadows a flashlight is pointed at the camera at nighttime or in a darkened space. In Breathing Light he uses a mirror to reflect light back toward the lens by day. In both cases he then moves around in the scene adding streaks or spots of light to the image. Ironically a long exposure of a person becomes a photo without anyone in it, but the viewer infers the person’s presence from the resulting image.

The title Photo-Respiration was chosen, according to Sato, because in the photographs he makes “a direct connection between my breath and the act of tracing out the light.” In his view this has the same significance as in monotonous activities such as long distance running or swimming, when one’s focus is only on breathing. The fact that Sato accommodates the three-dimensional real world by tracing it through his person into the image is often attributed to his training as a sculptor, although naturally the concept of dimensional collapse is part of the medium and a consideration for every photographer.

The resulting photographs have a very timeless and lyrical feel about them and this impression persists even after learning about the technique that was used to create them. In fact, knowing the method of creation adds to the enjoyment of the work. As always, it is the viewer who makes the image once more when facing it and doing so is a delightful moment. Interpretation is tempting, but one should be careful not to jump to quick associations. In an Q&A session, Sato was once asked what the reflections of light “represented” to him: perhaps fireflies, or marching pieces of string? His response was that representation is not his intention. All they represent is where he stood shining the light into the camera.

Even though we refer to Tokihiro Sato here as a photographer, it might be more accurate to speak of a visual artist who is appropriating the medium of photography. The Wandering Camera, for example, demonstrates a strong resemblance to an art installation or a performance which even includes an immediate feedback loop to the audience. Lastly, his award-winning contribution to the 20th Exhibition of Contemporary Japanese Sculpture 2003 is a camera-esque steel sculpture that reflects the outside world on the inside, showing that this artist is more than comfortable to move between the media he chooses to work in.

Related posts:

1. Tokihiro Sato – Brooklyn Bridge (Gleaning Light Series) Tokihiro S
2. Photography between actual and potential forms in Tokihiro Sato Tokihiro S
3. Sato Shintaro – Twilight Zone SATO Shin

Here she talks to Japan Exposures about how she came to adopt photography as her means of expression, the importance of photographers as different as Michael Kenna and Koji Onaka in setting her on her creative path, and her thoughts about the man-made landscapes that comprise the dominant theme of her work.

The interview was conducted during the last week of December, 2008. In addition to the photographs that accompany this interview, please see our special Sachiko Kadoi gallery.

日本語

Japan Exposures: When did you first become interested in photography, in taking pictures?

Sachiko Kadoi: When I was 11, my father bought for me and my sister an easy-to-use half-frame compact camera for me to take with me on a school trip. This was the first time I took photos. Bringing a camera along on school trips is quite a common thing to do in Japan, but I was happy to handle the camera, and remember that it was interesting to take my own photos. It was when I was in college and bought myself a camera that I began to be more seriously interested in photography and in taking photos.

JE: You attended Tama University of Art in Tokyo, is that right?

SK: Yes, that’s right. I was interested in art from a young age. There were art books and catalogs of various exhibitions that my grandfather, who was a painter, bought into the house. I often looked at these and I also used to go to museums in my junior high school and high school days, and thought that I wanted to be a painter in the future.

But we lived in a small house, my parents, my older sister and I, and my grandparents, and I didn’t even have my own room, and so to go to art college was not easy. It was like the movie “Billy Elliot” [laughs]. I felt I needed to be independent from my parents after graduating from college, but it seemed impossible to be able to survive as a painter. So I entered the Graphic Design department at Tama University of Art. However, I came to feel that the advertising world was not a place I could be comfortable in, and ultimately, I felt that I wouldn’t be able to be happy doing that kind of work.

Thankfully, there was a photography class offered in the design department. I was interested in working in the darkroom, so it was a lot of fun. At that time, I bought a Canon 35mm camera. I still have it, and have used it without trouble for 20 years. I learned how to print black and white, as well as various other techniques little by little, such as toning prints, making photograms, solarization, etc. At any rate, I liked taking photographs. I preferred to take pictures more than looking at another photographers’ work. I didn’t look at photo books or go to photo galleries that much, compared to now. After graduating I liked to travel on my own, both within Japan and overseas, taking pictures as a way of enjoying myself.

JE: What did you do to support yourself after graduating?

SK: Rather than entering a design company after graduation, I did freelance work in the book publishing field. Mainly book design, but other various things related to books as well, such as editing, making objects for craft-making books for children, illustration, and so on. The books were mostly about natural science and geared towards children from kindergarten to primary school age, or books about practical skills and child-care counseling for child-care professionals. The work was really hard, there was a year I couldn’t have any holidays at all. During this time, I continued to hold on to the desire to do my own artwork, not photography but drawing or painting, but it just wasn’t possible because of my work load.

“
I looked at Kenna’s photos again after that talk, thinking that there were eight hours captured on this paper, and I began to look at photography in a new way.”

JE: When did you begin to consider photography as a creative outlet?

SK: Well, I often worked with commercial photographers in the studio and on location, and I learned about book editing work in an editorial agency that had a stock agency attached to it, where we would get stock photographs mainly related to natural science for the books. So photography was always a part of my freelance work, but I began to consider photography as a creative outlet after I went to Koji Onaka’s workshop in 2003.

JE: How did your participation in that workshop come about?

SK: There were actually a lot of things that happened in 2003 to make that year a turning point for me.

There was a retrospective exhibition of Michael Kenna’s work in Tokyo, and I attended a slide show and talk that he gave. He talked about exposing one of his photos from his Ratcliffe Power Station series for eight hours. [Kadoi remembers it being Kenna's “Study 31” from this series. – ed] Of course I knew that he used long exposures to make those photographs, but I was very surprised to hear it was eight hours! I looked at those photos again after that talk, thinking about a camera that looked at a power station in the quiet of the night and that there were eight hours captured on this paper, and I began to look at photography in a new way. I had the feeling that a photograph was not the flow of time and space passing before my eyes that the camera captured, as a mere tool, but rather that a photograph was the flow of time and space passing before the camera, as if it was like a living thing, with its own personality, and that I captured what it was looking at. At that moment, I had the strong desire to take photographs. Although this urge was a bit strange, seeing as I had been taking photographs for 20 years.

And then that summer I participated in Koji Onaka’s photography workshop held at the Yokohama Museum of Art. About 10 years ago a friend of mine who was into looking at photographs, knowing that I liked to travel by myself to various places, taking photos, asked me to go along with him to an exhibition of Onaka’s. He probably thought Onaka-san’s work would be good for me to study. I still remember seeing works of his shown in Ebisu that had been printed large onto rolls of paper.

“I guess that in doing nothing but the opposite of what Onaka-san talked about, I was not a good student.”

JE: Could you tell us more about Onaka’s workshop, and what you learned from him?

SK: I think the most important thing that I got from the workshop was that it gave me the intention to exhibit my photos as a photographer. It was not only about my strong feelings towards art, but also that up until this time, because of my freelance work, I had had the idea that a person called “photographer” was someone who did commercial photography. So I hadn’t yet hit upon the idea that I could exhibit my own work.

Onaka-san talked to us about photography’s “時代性” (jidaisei) by which he meant a photograph’s ability to record the time period in which it was taken. According to Onaka-san, it is because of this ability that photographs derive their power. He also talked about “interestingness” captured in photographs. At this time, he was negative about even taking pictures in foreign countries because we didn’t know its jidaisei. He talked about the importance of being genuine when taking photos of subject matter with a strong character. That is his methodology for taking photos, and that is why his photos are good. However, if I followed his way, it was only occasionally that I could produce work with a similar feel.

His workshop was a good opportunity for me to think about my own photos, question what it was I wanted to do, what I had been doing up to that point, and what I should be doing going forward, and so on. As a result, I ended up ignoring Onaka-san’s words to “take more pictures of towns”. [laughs] More and more I came to take photographs of simple scenes and places. So, I guess that in doing nothing but the opposite of what he talked about, I was not a good student. [laughs] The series of photographs of the gravel mountains in the latter half of my book [Kadoi Sachiko: Photographs 2003-2008] came from such a background.

Anyway, I was still working very hard to support myself, but I was also becoming crazy about photography. Even when I finished my work at 2 o’clock in the morning, I would then look at my contact sheets for over an hour.

JE: Speaking of your book from Sokyusha, it carries the subtitle “Photographs, 2003-2008″. That makes me think this book is a “collection” of your work from the last 5 years, rather than a single project that took 5 years to photograph. How do you think of this book?

SK: Actually, I want my next book to be a single project. But I wanted to make this book first. However, rather than a collection of individual images taken over the last five years, I think the photographs have been selected and edited together to become something with a unified feel. I feel that Ota Michitaka-san has done a great job taking a number of my projects and shuffling them around. At first I showed him the postscript I had written and conveyed to him my thought process behind the taking of the photos.

[Ota runs the publishing company Sokyusha and has edited and published many important photo books, including the original Ravens by Masahisa Fukase, as well as books by Daido Moriyama, Miyako Ishiguchi, and Onaka. – ed.]

JE: The book does seem to me to be very well edited. What was the working process with Ota?

SK: At first I handed him the photos which I had selected, and about a week later he presented the first draft, and then I gave him my opinion. Every time Ota-san shifted the photos around, I would make a mock-up and he would check the sequencing again. He would suggest what photographs he thought would work the best in the sequencing, and then I would look at the contact sheets again, and print more photos as well. The inclusion in the book of photos from the “gravel mountain” series was a result of this process. We worked on this from the middle of July until October (2008). It was very tough work because of the short time span.

“I don’t think that man and nature are opposing concepts, and therefore I don’t want to take photographs from such a point of view.”

JE: There are only a few photographs in the book that have any people in them, but on the other hand, it seems that almost everything we seen in the photographs comes from man, is man-made. Can you tell us more about your approach to landscapes and what attracts you to a scene?

SK: Although I am walking around places where I rarely encounter people, I’m thinking that I want to take pictures of people. But this thought to take photos of “man” doesn’t mean that I want to take pictures of, say, the elderly that I sometimes pass by on my walks. Japan is a small country, and because of this we can see a direct relationship between people and nature or the land everywhere we go. I’m not particularly thinking in a conscious way that “this object has a relationship with man”, but it seems that the scenes in front of me that I want to take are essentially always those kind of scenes. I don’t think that man and nature are opposing concepts, and therefore I don’t want to take photographs from such a point of view. While there is a clamor against environmental destruction nowadays, when I look at the landscapes on islands or sand dunes, etc., I find that man’s existence is small and that I am overwhelmed by the immense power of this other thing, that is nature or what some people might call “God”. The important thing for me is that, as opposed to ruins which are of “the past”, the subjects I want to take photographs of most of all show man’s existence, and are things still in operation.

JE: These are not what many people would consider beautiful places.

SK: Daniel Stifler, who translated the postscript of my book into English, told me that the subjects of my photographs are perhaps not beautiful in a traditional sense, but that he felt I was able to find beauty in them, and that there is both space and silence. I was told similar things by some Japanese people, such as “I like your work because there is a space I can participate in”. I was very happy to hear that.

JE: How often do you photograph? Are you a photographer who is always shooting pictures, or are you a person who works more on a project by project basis?

SK: I think a bit of both, but I don’t have the feeling that I am always taking pictures. But that doesn’t mean that I take pictures by seeking out beforehand potential locations to shoot in, according to some theme or another. I think encountering the landscapes just by walking and walking is important for me. When I’m out shooting, I don’t take photos or not take photos to fit some theme.

JE: Can I ask you about the camera(s) you use and whether or not equipment is important to you?

SK: I shoot in 35mm and sometimes use a Mamiya 645 camera. I think the camera – or rather, the lens – is important, but I am not a camera otaku. My camera is not so bad, but I am thinking I want another one. I received a 6 x 9 format camera last year, so I am looking forward to taking photos with that. It is often said about me that I like to take photos unhurriedly, but I take photos as if I’m taking snapshots, and shoot quickly. I don’t vacillate about composition, and those times when I look through the viewfinder and can’t decide on a composition, I don’t take the photograph. I don’t use a tripod except in dark situations – it seems to change the photograph if I use one. As for film, I used to like XP2, but I use Tmax 400 developed in XTOL now. I process and print my own work at home.

JE: What are you working on now?

SK: The photographs that are in my new book are several projects that continues now. The series of gravel mountain in particular I want to spend more time continuing to photograph, and would like to publish it sometime in the future. There are lots of different photos I have taken from this series, so I am thinking about what kind of things I can do with those photos for a photo book.

I started taking photographs in parks when I was in Onaka-san’s workshop, and some of these are in the book, but I stopped taking them after that. I would like to pick that back up again. Additionally, as a new experiment, I’m making small prints of photos taken in Tokyo’s old town, which I have at an arts and crafts store called “Fukugawa Ippuku” near the Museum of Contemporary Art Tokyo, and which I add to each month. These will be snapshots taken in the older districts in the eastern part of Tokyo, what we call “shitamachi”, around my hometown.

And lastly, it is not landscapes, but I have a project that I have been wanting to do since I began to have exhibitions of my work held. This is still at a trial stage, so I cannot talk a lot about it, but it involves photographing the movement of the body. I don’t know if I can succeed in that project or not. Anyway, I need a lot of time for all these projects!

JE: 最初に写真に興味をもったのはいつですか？

SK: 11才のとき、日光林間学校に合わせて父親が子どものためにハーフサイズのコンパクトカメラを買ってくれて、初めて自分で撮りました。修学旅行や林間学校にカメラを持っていくのは日本では一般的なことですが、自分で撮るのはおもしろく、カメラを手にしてうれしかったのを覚えています。本格的に写真を始めたのは、大学時代にカメラを買ってからです。

JE: 多摩美術大学に通われたのですよね？

SK: そうです。もともと私は美術に興味がありました。画家だった祖父が買った美人画の画集やいろいろな展覧会の図録が家にありましたので、それらを見たり、また中学高校時代は美術館に通ったりして、将来は画家になりたいなと思っていました。でも私の家族は小さな家に両親と姉と私と祖父母とで住んでいて自分の部屋もなかったし、美術大学に進むのも大変でした。映画『リトルダンサー』みたいで（笑）。それで卒業後はとにかく親から独立したいと考えていて、そんな自分にはファンアートの世界は生計を立てる上で難しく思いました。それでデザイン科に進んだのですが、入ってみたものの広告デザインの世界には馴染めませんでした。

ただ幸せだったことは、美術大学のデザイン科やデザインスクールには必ず写真の授業がありました。暗室作業には興味がありましたのでとても楽しみでした。そのときに自分でキヤノンの一眼レフを買いました。今でも使っているカメラです。20年故障なく使っています。

学校では、モノクロのプリント技術や調色の他に、フォトグラム、ソラリゼーションなどいろいろなことを少しずつ学習しました。写真は他の作家の作品をみることより、とにかく撮るということが好きで、今と比べると、写真ギャラリーを回ったり写真集を見たりというのは少なかったです。旅が好きだったので卒業後は国内外一人で行っては自分の楽しみのために撮っていました。

JE: 卒業後はどうされていたのですか？

SK: 卒業後はデザイン事務所には勤めずにフリーランスで書籍の仕事をしました。ブックデザインの仕事ですが、構成、編集、造形物の制作や、イラストレーションなど、本に関するいろいろなことをやりました。主に幼児から小学生の読む自然科学の本や、保育士向けの実技書や保育カウンセリングについての本です。仕事は本当に忙しく一年休みなく働いた年もありました。その間も、作品を作りたい、これは写真ではなくドローイングやペインティングですが、その気持ちはずっと変わらず持ち続けていたのですが、忙しい毎日でなかなかできませんでした。

JE: 写真を表現手段として考え始めたのはいつですか。

SK: スタジオ撮影や野外の撮影の仕事もありましたし、主に自然科学の本に使われる写真のストックをしている編集事務所で編集の勉強をさせていただいたので、いつも写真と隣り合わせの仕事ではありました。でも表現手段として考え始めたのは2003年に尾仲さんのワークショップに通ってからです。

JE: ワークショップに通われたのはどういうきっかけですか？

SK: 2003年は私にとって、ターニングポイントとなるできごとがたくさんありました。マイケル・ケンナさんの個展があり、ご本人のスライドトークがありました。そのなかで、ケンナさんが “Ratcliffe Power Station”の写真のひとつに8時間露光したと聞き、もちろん長時間露光の写真とはわかってはいましたが8時間というのに大変驚きました。（そのシリーズの中で門井さんは「Study 31」を記憶している。－　編集者談） スライドトークが終わったあと再びその写真を、そこに8時間の時間が写っているのだと、夜の静寂に発電所に向かっているカメラを思い浮かべながら見ているうちに、こんな思いが浮かびました。
写真は、私が見ている時間、私の前に流れている時空をカメラが切り取るのではなくて、カメラが見つめている、カメラの前に流れている時空を私が切り取るものなのではないのか、ということです。その瞬間、ああ写真が撮りたい、と強く思いました。20年撮り続けていたのになぜかそう思ったのです。

またその夏に尾仲浩二さんのワークショップが横浜であり参加しました。尾仲さんについては、10年程前、写真の好きな友人が尾仲さんの個展に誘ってくれました。私が旅好きで、一人でいろいろなところへ行って写真を撮ってくるのを知っていて、参考になるだろうと思ったのかもしれません。まだロール紙で大きくプリントしていた尾仲さんの作品を恵比寿で見たのを覚えています。

JE: 尾仲さんのワークショップについてもう少し教えてください。

SK: 尾仲さんのワークショップで得たものの１番は、作品を発表していこうという意思をもてたということだと思います。美術に対する思いが強かっただけでなく、仕事を通じて、写真家と呼ばれる人はコマーシャルの仕事をしていると思っていたので、自分の写真を作品として発表するという考えを思いつきませんでした。
尾仲さんは、写真の時代性や写真に写り込むものの面白さということを話されました。時代性こそが写真の力であると。だから外国に行って写真を撮ることには当時は否定的でした。

また、キャラクター性の強い（おもしろいもの）を撮るということに対して、「おもろいもの」を素直におもしろいと思って撮ることの大切さも話されていました。ただそれには尾仲さんの方法論があり、またそれが尾仲さんの写真の良さであり、それ通りにしていればいつしか似たような作品になってしまう。
尾仲さんのワークショップに行くことで、自分の写真のこと、やりたいこと、今していること、これからするべきこと、などを深く考ることになったのがよかったと思います。結果的には私は「街を撮りなさい」という言葉も無視して（笑）ますます時代性のでない状況や、写り込むもののおもしろさを極力避けたような写真を撮って行くようになりました。反抗ばかりしていてきっとよい生徒ではなかったと思います（笑）。写真集の後半に入っている砂利山のシリーズはこうした背景からでてきたものです。仕事は相変わらず忙しかったけれど、写真に夢中でした。夜中の二時に仕事を終えたときでも、それから一時間コンタクトを見たりしました。

JE: 蒼穹舎から出された本について、”Photographs, 2003-2008″と副題に、ひとつのプロジェクトによる写真集というより、5年間の作品集と印象を受けましたが、そのへんについて聞かせて下さい。

SK: この次はひとつのプロジェクトで本を作りたいと考えていて、その前にこれを作っておきたかったというのがありました。ただそれぞれが独立したイメージの作品集ではなく、本として統一されたものになるように写真は絞られて編集されていると思います。編集の大田通貴さんは、いくつもの私のプロジェクトをシャッフルしながら、うまくまとめてくださったと感じています。大田さんには、後付けの文章を先に渡して、どういう思いで撮っているのかを伝えました。

JE: とてもよい編集がされていると思います。大田さんとの編集プロセスを聞かせてください。

SK: まずは大田さんにセレクトした写真を渡し、一週間後にいただいた案に今度は私が意見を出しました。写真が入れ替わるたびに私が小さい完成見本を作り、大田さんが再度流れをチェックしました。流れのなかでそこにどんな写真くるとより良いのかを聞き、コンタクトから見直しプリントを繰り返したところもありました。砂利山のあたりがそうです。2008年の7月の中旬から10月までの作業でした。期間としては短かったので大変きつい作業でもありました。

JE:人の写っている写真はほとんどありませんが、一方で、「人により作られた風景」であると感じられます。風景に対するアプローチや、引きつけられる風景いについて教えてください。

SK: もともと歩いていてもめったに人に会わない場所なのですが、「人を撮りたい」と思っているのです。でもその「人を撮りたい」と思う私の思いは、例えばたまにすれ違うお年寄りを撮るというのとは違うものであると考えています。日本は国土が狭いので、どこへ行っても人と自然（土地）との関わりが見られます。特に意識して「こういうものは人との関わりだ」と考えて撮ることはありませんが、撮りたいなと思う目の前の風景がそもそもどれもそんな感じに私には思えます。人と自然は相対立するものでではないと考えていますので、そういう視点で撮りたくはありません。環境破壊が叫ばれている昨今ですが、むしろ島や砂丘などで見る風景には、人は本当小さくそれ以外の力、自然というかそれ以上の、「神」と呼ぶ人もいるでしょうが、その大きさに圧倒されることがあります。重要なことは、人の存在といっても、廃墟のように”かつて”ものではなく、現在稼働しているものを撮りたいのです。

JE: 多くの人々があまりきれいな場所と思わないでしょう。

SK: 翻訳してくれたダニエル・スティフラーさんには、私は伝統的な意味で美しいものは撮ってはいないが、どんなものにも美を見いだしていると言われました。それから私の写真には空間と静寂があるとも。似たようなことを私の写真を好きだといってくださる日本の方にも言われたことがあります。「見る私の居場所がある」と。それらを聞いたときとてもうれしく思いました。

JE: どのくらいの頻度で撮るのですか？いつも撮っているタイプの写真家でしょうか？それともプロジェクトを基本にして撮っている方でしょうか？

SK: どちらもと思いますが…、あまりいつもいつも撮っているという感じではありません。でもテーマに沿って、被写体のあるようなところをあらかじめ調べ、撮りに行くということではなく、あくまで歩いて歩いて風景に出合うことを大切に考えています。撮るときに、テーマに沿って撮ったり撮らなかったりもないです。

JE: お使いのカメラや設備について聞かせてください。

SK: 35ミリと、その他にはマミヤの645のカメラを持っていて、時々はそれで撮ります。カメラ（というかレンズ）は大切だと思いますが、”カメラオタク”ではありません。私のカメラは悪くはありませんが、また違うカメラも欲しいなとは思っています。昨年69のカメラをもらいました。今はそれで撮るのを楽しみにしています。よく人から「ゆっくり構えて撮っているようだ」と言われますが、スナップショットのような感覚で撮っていて、撮るのは速いです。構図に迷うこともなく、ファインダーをのぞきながら構図を迷うときは撮るのをやめてしまいます。暗い時間以外は三脚も使いません。三脚を使うと写真が変わってしまうように思います。フィルムについてはXP2が気に入っていたのですが、今はTmax 400を使いエクストールで現像しています。自分の家で現像もプリントもしています。

JE: これからの予定について聞かせてください。

SK: 写真集に収められた写真はほとんどがいくつかの継続しているプロジェクトです。特に砂利山はまだまだ時間をかけて撮り続け、近い将来まとめたいと考えています。いろんな写真がありますので、写真集でどんなことができるのか考えて進めていきたいと考えています。

また尾仲さんのワークショップのときに撮り始めた公園の写真ですが、いくつかは写真集に収められていますが、その後しばらく撮ってなかったもので、また続けたいと考えています。

あとこれは新しい試みで、東京のスナップを小さいプリントにします。”深川い
っぷく”という東京現代美術館の近くにあるショップに置かれるものです。毎月
新しい写真を置く予定です。下町と呼ばれる東京東部地区でのスナップで、私の
生まれたところでもあります。

また風景ではありませんが、ひとつ写真を発表し始めたころからやりたいと思っていることがあります。これはまだ試作段階なのであまりお話できないのですが、体の動きを撮るというようなもので、うまくいくか未知数です。いずれにしても時間が必要だと思います。

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3. Tokyo 1934-1993 This is a

I saw a a gallery of photos in the underground walkway between Hibiya and Ginza station. Not the most glamourous exhibition space I suppose. Nonetheless, the prints were nice to look at (taken on film, printed digitally as it turned out) and I recommend looking at the website. Might be a little difficult to navigate without understanding Japanese, just click on the photo next to the camera for the series. Oh, and don’t bother with the cats.

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