“New order” series 2016 [Archival print]
This work is about the record and memory of “the great earthquake disaster that doesn’t exist yet”. In other words, it’s not an expression that deals with the specific earthquake that once existed. The motif here is the “Tokai Great Earthquake”, a disaster that my hometown may have been affected by, or will be damaged in the future. In a narrow sense, I have found the possibility of updating the expression of photographic records in my experience of being born in a “country of disaster”. [Omitted greatly due to character limitations.].
In large terms, it was created as a memory device that resists human beings who are destined to forget the great earthquake.
Therefore, I decided to use 3D data of photographs taken on the ground. I used off-the-shelf software to convert photo data into 3D data. Subject is inevitably distorted by 3D data generation algorithm of existing software (at the time of 2016). The production process automatically damages places that have not experienced major disasters. Things that are not rubble will be converted into rubble. I filmed my local area, which is expected to have a great earthquake in the future, and the Kyoto building where I currently live. The photo has been converted to 3D data. In other words, we have never taken pictures of the affected areas. Arbitrary shape breaking work is not done in Photoshop.
E.g. one sees the face by the collapse of Gestalt on the patterned wallpaper. Can we use the universality of the human eye represented by such a gestalt collapse to see an earthquake that doesn't exist anywhere else? Our “unreliable vision of performance” is universal as long as this eye exists. Therefore, in this work, “most” of the motifs are developed in line symmetry and point symmetry, or the lines that do not exist are visible. Find a face on the wallpaper and draw a line from star to star. Faces, spaces and lines that should not exist there will appear and disappear unexpectedly. By appearing when we forget it like this and shaking the horizon of “now and here” of daily perception, it becomes a potential image of the disaster area We’ve never seen.