藤本涼|ryo fujimoto[live on air]
live on air

←INDEX








L→R:

《live on air (blackgirl)》
Type C print, Mounted on acrylic board, 600×900 mm
2008

《live on air (bones)》
Direct print, Mounted on acrylic board, 980×980 mm
2008

《live on air (redhood)》
Type C print, Mounted on acrylic board, 600×900 mm
2008

《live on air (cliff)》
Type C print, Mounted on acrylic board, 222×337 mm
2008

《live on air (queue)》
Type C print, Mounted on acrylic board, 268×419 mm
2008

《live on air (ice cream)》
Type C print, Mounted on acrylic board, 275×432 mm
2008

《live on air (bridge)》
Direct print, Mounted on acrylic board, 760×600 mm
2009

《live on air (seagull)》
Direct print, Mounted on acrylic board, 600×900 mm
2009


L→R:

《live on air (girl)》
Direct print, Mounted on acrylic board, 600×900 mm
2009

《live on air (hoodgirl)》
Direct print, Mounted on acrylic board, 600×900 mm
2009

《live on air (hoodboy)》
Direct print, Mounted on acrylic board, 600×900 mm
2009

《live on air (tower)》
Direct print, Mounted on acrylic board, 900×600 mm
2009

《live on air (swing)》
Direct print, Mounted on acrylic board, 900×600 mm
2009

《live on air (climber)》
Direct print, Mounted on acrylic board, 728×1030 mm
2009

《live on air (mountain)》
Direct print, Mounted on acrylic board, 480×580 mm
2009

《live on air (turkey)》
Direct print, Mounted on acrylic board, 480×580 mm
2009


L→R:

《live on air (picnic)》
Direct print, Mounted on acrylic board, 600×900 mm
2009

《live on air (trunk)》
Direct print, Mounted on acrylic board, 480×580 mm
2009

《live on air (mouth)》
Direct print, Mounted on acrylic board, 600×900 mm
2009

《live on air (plate)》
Direct print, Mounted on acrylic board, 900×600 mm
2009

《live on air (boat)》
Direct print, Mounted on acrylic board, 1000×1500 mm
2010

《live on air (bridge #2)》
Direct print, Mounted on acrylic board, 760×600 mm
2010

《live on air (greyhood)》
Direct print, Mounted on acrylic board, 900×600 mm
2010

《live on air (tree)》
Direct print, Mounted on acrylic board, 1000×1500 mm
2010


L→R:

《live on air (doves)》
Direct print, Mounted on acrylic board, 1000×1500 mm
2010

《live on air (rhinoceros)》
Direct print, Mounted on acrylic board, 1000×1500 mm
2010

《live on air (umbrella)》
Direct print, Mounted on acrylic board, 1500×1000 mm
2010

《live on air (float)》
Direct print, Mounted on acrylic board, 1500×1000 mm
2010

《live on air (airplane)》
Direct print, Mounted on acrylic board, 1500×1000 mm
2010


眼と感覚が鈍い者は、最高の純粋性である大きな白い布の下に、その柔らかな色彩の戯れとともに自然が新しい生命を準備するのが見えない、あるいは、ファンタジーが乏しい者は、霧を灰色としてしか見ない・・・霧に覆われた地域は、いっそう偉大で崇高に見え、構想力を高め、ヴェールをかぶった少女のように、期待に心を張りつめさせるのだ。眼とファンタジーは、一般に、目前のはっきり見える対象よりも、かすみがかった遠方に引きつけられる。
(仲間裕子、"C.D.フリードリヒ《画家のアトリエからの眺め》- 視覚と思考の近代"、三元社(2007)p.113より引用)

ドイツロマン主義の重要な画家の一人であるカスパー・ダヴィッド・フリードリヒが語ったこの言葉の中にある、霧に覆われヴェールに包まれることは、自ら詩作してそれらを補完するように強いられるための条件を充分に満たす。空白や霧に隠され確認できない状態は、眼前にではなく脳内に幻想を発動させる。そして脳内に発動された幻想を脳内の眼球で見ることは、フリードリヒが上で書いているような、"かすみがかった遠方"を見るようなものである。できるだけ眼を凝らしてフォーカスを合わせようとするのだが、しかしながらはっきりとピントが合うことはない。私はその"かすみがかった遠方"を、空隙の中に見出し、注視する。画面に現れた点景としての後ろ姿の人物の視線は、こちら側(はっきりと見える現実の世界)ではなく、あちら側(無限さえ許される、発動された幻想)に視線を投げ続ける。
単なる言い換えにすぎないかも知れないが、私はあくまで"写真を撮る"のではなく、"カメラと写真を用いてイメージを獲得する"ことに執着する。カメラの前にあるのがたとえ白く光った平面であったとしても、それは崇高な、茫漠とした何もない彼方である、と言い切るために作品を作る。

-

The one who has the idle eyes and sensibilities cannot see the softness of the lark of tones and the nature reserving a new life under the highest pureness of large, white cloth.The one who has poor sense of fantasy, sees only the gray in the fog... The field veiled in the haze, increasing its greatness and highness, and the imagination raises as if a girl's expectation growing under her veil. The eyes and fantasies are, in general, drawn to the farness in the haze, besides its appearance.
(Yuko Nakama, "C.D.friedrich "View From the Atelier" -Vision and Thought in Modernism(Sangensha/2007)Cited from p.113 )

As the indispensable painter of german Romanticism, Casper David Friedrich stated in his word, veiled in the haze could fulfil the condition s"force the one to create and complete" one's own narrative". The uncertainly under the veil of blankness or the fog, under such a condition one's fantasy is evoked not toward what he/she sees in front of his/her eyes but in his/her insight. To see the fantasy in one's mind, from the eyes within, is as if looking toward the "farness in the haze". Despite one's attempt to look closely, and to bring it into one's sight, the scenery never comes into the focus. I look into the blank, where I find the "farness in the haze". Someone's back appears in the image as a viewpoint, keeps his/her gaze toward the other side - unfolded, evoked imagination of the world - against this apparent real world.
It may sound like just playing of the words, but I am not taking photographs for the sake of "Photography". My practice is to pronounce the view in front of my camera as the highness, empty farness of the blank, white surface.


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