-Close Your Eyes, Make A Wish.-
After my husband and I had our daughter in 2005, we went on a journey to find a perfect place to raise a family. We moved from New York to Maui, Tokyo, Shanghai, Santa Monica and ended up in Leucadia, a beach town in Southern California. We have experienced a miscarriage and a still birth in this new destination. I picked up a camera to spend the first and last night with my second daughter. The series of photographs,"Close Your Eyes, Make A Wish" is a collection of fragmented memories from 2005 to 2014.
When I was little, I asked my grandmother what she was praying for everyday in front of alter. She said she wished for her family's protection and health. I thought it was such a small and ordinary wish. Now I understand how she felt. I don't pray like my grandmother but instead I look through the lens and keep capturing moments of my life.
1970 in Kumamoto
1993 Ferris Women’s University, Yokohama, Japan
Bachelor of Art. Degree in English and American Literature.
1997 International Center of Photography, New York City
One-Year Certificate in General Studies for Photography.
2015"Close your eyes, make a wish." Ginza Nikon Salon, Tokyo, Japan
2004 “Home Drama” Soho Photo Gallery, New York, USA
2001 “Home Drama” PS122 Gallery, New York, USA
2014 "Basically. Forever." Tokyo Metropolitan Museum of Photography, Japan
2011 "Worldwide@Young Portfolio" Kiyosato Museum of Photographic Arts, Yamanashi, Japan
2005 “The Water” The Center for Contemporary Art Santa Fe, New Mexico, USA
2004 "In This Place" Art in General, New York, USA
2003 “Futuring Power” Tokyo Metropolitan Museum of Photography, Japan
2000 “Self In Situation” Museum of Youth, Ekaterinburg, Russia
1998 “The 7th Canon Cosmos of Photography” P3 Gallery, Tokyo, Japan
2015 The 6th Annual JGS Artist Award, New York, USA
2004 The First Prize, "Itaru Hirama Award" Shinpusha Publishing, Tokyo, Japan
1998 Takashi Honma Prize, The 7th Canon Cosmos of Photography Award, Tokyo, Japan
Takayuki Ishii (Taka Ishii Gallery Director）
"KITSILANO" is the name of a town in Vancouver. I like this word because its difficult to ascertain the meaning from its sound and I decided to use it as the title. I started this work by putting together photos I took in Vancouver but it did not progress well so I started to add new photos that were not directly connected. This piece of work has been in the making for around 2 years. The theme of the work is my thinking of what photography is and how it relates to my everyday life. For me, the main function of photography is more to do with thinking, feeling and memories, rather than as a method of recording or archiving. When there is the paper of pictures in front of my eyes, it stimulates my feelings to create my work.
1975 in Tokyo
1year master program of Graduate school of International Christian Univ.
2012 KITSILANO Nikon salon Ginza
2009 A little German handworks Gallery Feve Kichijyoji
2006 ON THE HORIZON eleven NIshiogi
2003 OXYGEN Gallery conceal Ginza
2000 Sunrise party at secret place Konica galley Shinjyuku
Life consists of a series of transitory, ephemeral moments - be it the beautiful scenery of everyday life; momentary interactions with others; or the variety of ideas that come and go with the flow of time. These things can't be expressed in words. Like a biologist takes flowers and insects from the wild, these photos are her specimen of the world. Her method does not so much skillful but the photos are chosen with the same honesty and care in which a poet choses his words. The photographs are aesthetically pleasing and her affection for the subjects comes across in the lyrical nature of the work.
Mutsuko Ota (IMA Editorial Director)
-Trace of evidences-
Continuing to look and gather evidence, but evidence of what? This is the meaning I am looking for.
Birth in Tokyo
College of Art Nihon University, Photography at the Department of Photography
Nobuo Yano offers an intriguing vision of the world through the camera's lens. Highly formal in many ways but open to the play of chance, light and shadow, this is photography that is both curious and highly calculating. The compositions are very strong, with emphasis on the oscillation between depth and flatness and the use of colour intensifies this characteristic. I am very impressed with Nobuo Yano's diversity of practice (within a small selection of images) but also with the sense of a defined and distinct artistic vision that links up the very different images included. There are some individually very powerful works in the group but also it works together as a portfolio very well. I would like to congratulate Nubuo Yano on a very strong submission and expect great things for the future.
Simon Baker (Curator of Photography and International Art, Tate)
When the scenery of casual everyday life sticks to my mind, I don't want to surrender this to anybody else.
1991 in Gunma
2014年 Senshu University Faculty of Letters
What I especially enjoyed about Tamami Hasegawa's sequence of images is that a sensibility and approach to being in the world was carried through quite a diverse range of photographs. The images took me on a subtle journey; seemingly effortlessly moving between joy and poignancy, intimacy and distance.
Charlotte Cotton (Curator)
Portrait and privacy rights have been a troublesome issue for photographers for a very long time. There is a scene in the movie '' Code Unknown'' (directed by Michael Haneke who I love and respect) in which members of the public are unwittingly used as movies extras. I've also photographed the face's of people on a train in Berlin in the same way to Code Unknown. Of course, a photo that captures people's faces in real society cannot be exposed to the public. As a result I have shot and edited the photographs in a way aiming to reach the fine line of getting away with not being able to specify the models individuality. I was able to clear the problem of rights of images, by digital image editing and the result of the shade from rays of direct sunlight from the windows. I tried to extinguish the individuality of the 'models' and removed clothing they were wearing through trimming. This series is in homage to the director Michael Haneke.
1984 in Hyogo
2007 Osaka University Faculty of Arts Degree
2015 ELTTOB TEP ISSEY MIYAKE | GINZA
2014 「Wi(e)dersehen」L‘espace de L‘espace, Kunstfabrik HB55(ベルリン)
2015 ISSEY MIYAKE MEN 2015 A/W
I think the most interesting aspect of this series is that Satoshi Fujiwara’s portraits look painful, dramatic and sensitive although being, actually, stills of everyday annoyance during a train trip. The full close-up of the passengers’ faces make them grotesque and monstrous, as nobody would be pictured in an official portrait: this result can be get only through their unawareness and thanks to an attentive eye of the photographer. Nonetheless, at first sight, you would try to discover which is the relation between the portraited person and the artist: I would have say kinship, because of the total unidealization and normality of their expressions. Finally, hiding from his betraying gaze is impossible.
Stella Succi (Mousse Magazine Web and Photo Editor)