山本渉 Wataru Yamamoto
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I document nature as a psychological image that is continuously transformed by relations between the self, objects, and time. I study the examination of nature in contemporary urban societies and the representation of nature through the photographic medium to decipher the diverse meanings of the concept of “nature.” In all of my works, I document the phenomena that are produced through the relation between humans and nature instead of positioning nature in opposition to modern artifice. In other words, I aim to document neither humans nor nature but what exists between them. It is the essential ambiguity of photography, as both an optical process of “writing with light” and psychological representational technique of “copying truth,” which I use to document such images. All of my works are an attempt to answer whether it is possible to document ambiguity.
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I experimented with Kirlian photography, which has been used to examine the aura of plants. Kirlian photography captures electrical coronal discharges, which are produced by applying high frequency high voltage electricity to the photographic subject. In other words, it is a contact print of the ionization and luminescence of vapors emitted from the photographic subject. The non-camera process and resulting images, which were fascinating, became associated with the mysterious term “aura.” In fact, however, the resulting images differ depending on the thickness of the photographic subject, the amount of water in it, and conditions of the environment in which the subject is photographed. In these images, there is a material reality, which differs from visually perceived reality. The images are traces of the labor that produced them. In this series, I selected images that Kirlian photographers would most likely have labeled failures.
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