Author Archives: ミーヨン

I, with a thousand faces

Works

“I”, with a thousand faces

 

“The mares that carry me as far as my spirit might reach
transported me after leaving and brought me toward the way with many voices,
that belongs to the deity, that leads to all the places the man who knows
thought all things. On what way was I borne……”
– Parmenides

 

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book-I and Thou

Publication

I AND THOU, Handmade Artist book, 2015

 

Limited edition : 72 (Sold out)
Photography, Text and Binding  :  Mi-Yeon
Editorial coordination and Art direction : Yumi Goto, Jan Rosseel
in collaboration with Reminders Photography Stronghold (in the handmade
photobook workshop)
Translation : Pamela Miki

Book Review by Gabriela Cendoya

Shortlisted
Steidl Book Award Japan 2016
Kassel Dummy Award 2016, Germany
Self Publishing PHOTOLUX Award 2015, Lucca, Italy

The Unseen Dummy Award 2015, Amsterdam, Netherlands

Yatra

Works

Yatra – going on a pilgrimage
Visiting the places called the sacred place

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Text

Text

I and Thou

In its new exhibition, Anne Clergue Galerie is happy to present the photographic series of 16 images from I and Thou by the South Korean artist Mi-Yeon. It was a reading of the book by the philosopher Martin Buber that gave birth to this artistic work. Mi-Yeon questions the relation between the outside world and herself, through a poetic vision informed by a powerful aesthetic sensibility.

A native of Seoul, Mi-Yeon studied photography at the Icart Photo school in Paris. From earliest childhood, she wondered about the place occupied by her own “I” in relation to the world and to others. She was naturally drawn to the work I and Thou by the philosopher Martin Buber, who argues that all our relations lead us into a bonding with God, the eternal “Thou”. Buber considers human beings to be defined by two pairs of words, “I-It” and “I-Thou”. The first expresses our relation with the other, the fact of revealing, in the form of experience and feeling, how we interact. This is the world as we experience it, with bonds that we can identify and distinguish. As to the “I-Thou”, it expresses a far more spiritual relation between “me and thee”. This view allows an abandonment of the area of feeling, so as to place, at the heart of our reflections, the interaction with another “I”, which could equally well between a person and a tree or between two individuals. It implies a forgetting of oneself, a shift of one’s individual center, in order to focus it on the interaction.

In this reading, the photographer poses a true philosophical conundrum. She uses this decentring of oneself, bringing to light what lies between ourselves and another individual. Mi-Yeon reveals what is usually invisible during our exchanges, whether spiritual or real, with an entity other than our self. It is a profound reflection on the functioning of the human soul in connection with the universe of another dimension, where notions of time and space are blurred. Her photographs are never identifiable portraits. Although the human being often stands at the heart of her images, the play of fuzziness, the blurred, vaguely anthropomorphic contours, never depict a face or a character trait.

One only recognizes the human, like an entity incarnating the “I”, as if the human were the only distinguishable “I”. The use of the personal pronoun thus becomes paradoxical, at once specific to a person and incarnating a set of individuals.

These photographs provide an approach to oriental thought, particularly Taoism, where “the other is a variation of myself”. The characters that one perceives project this thought by the orientation of their gaze towards the horizon. This vision, borne to the far distance, guides the viewer to the observation of something unidentifiable. Mi-Yeon releases us from ourselves through this very graphic work. The artist performs a sort of process whereby a print on “washi” paper is re-photographed with a digital camera. Some prints are silk-screened. She obtains a highly graphic rendering, with pastel and luminous colors, marked by strong contrasts. The grain of the suggests a vague texture as if the relation with the world has materialized.

This perceptible approach to an element that we cannot identify with the naked eye elicits a sensitive and poetic perspective on the part of Mi-Yeon. The viewer is completely lost in the midst of this artistic work, inundated by feelings. Her Taoist philosophy reveals a quest for wisdom aimed to achieve harmony. This places the heart and the mind on the path (the Tao), in other words, on the path of nature. Mi-Yeon causes the innermost nature of the human being to surge through a vision initially focused on herself. Her highly altruistic orientation is inspired by her contemplation of the exchanges with the world that surrounds her.

This sensitive outlook, once unveiled, forces contemplation. The photographic series “I and Thou” demands a forgetting of oneself. The mind roams her work, reflecting on the relations that we maintain with others, with nature, and with the world. Mi-Yeon succeeds in transmitting her philosophy, her images take possession of her thought, thereby becoming the incarnation of herself, of her “I”.
– Anne Clergue Gallery

*****

I and Thou 

Anne Clergue Galerie, lors de sa nouvelle exposition, est heureuse de vous présenter un ensemble de seize photographies de la série photographique, I and Thou, de l’artiste coréenne Mi-Yeon. C’est à la suite d’une lecture du livre du philosophe Martin Buber que ce travail artistique est né. Mi-Yeon interroge la relation entre le monde extérieur et elle-même à travers une vision poétique mêlée d’une grande sensibilité esthétique.

Née à Séoul en Corée du sud, Mi-Yeon étudie la photographie à l’école parisienne, Icart Photo. Depuis toute petite, elle se questionne sur la place que tient son propre “Je” face au monde et à l’altérité. Naturellement, elle s’intéresse au livre I and Thou du philosophe Martin Buber, mettant en avant le fait que toutes nos relations nous amènent à être en lien avec Dieu, qui serait le “Tu” éternel. Selon lui, il y aurait deux paires de mots définissant les humains, le “I-It” et le “I-Thou”. La première définition exprimerait notre relation avec l’autre. Ce serait le fait de montrer, sous forme d’expérience et de sensation, comment nous inter-agissons ensemble. C’est le monde tel que nous le vivons avec des liens que nous pouvons identifier et distinguer. Le “I-Thou” quant à lui, exprime une relation beaucoup plus spirituelle entre le “moi et toi”. Cette vision permettrait un certain abandon du domaine de la sensation, pour placer au coeur de notre réflexion, l’interaction avec un autre “Je”, qui peut autant être une relation entre un être et un arbre ou deux individus entre eux. C’est donc un oubli de soi, le déplacement de son centre individuel afin de le focaliser sur l’interaction.

De cette lecture, la photographe, nous transmet un vrai questionnement philosophique. Elle utilise ce décentrement de soi, faisant apparaître ce qui se situe entre nous et un autre individu. Mi- Yeon montre ce qui est habituellement invisible lors de nos échanges, qu’ils soient spirituels ou réels avec une entité autre que soi. C’est une réflexion profonde sur le fonctionnement de l’âme de l’être humain en lien avec l’univers d’une autre dimension ou la notion de temps et d’espace semble disparaître. Elle ne fait pas de photographies avec des portraits identifiables. Bien que l’être humain apparaisse très souvent au coeur de ses images, le jeu sur les flous, la vision trouble des contours de formes anthropomorphes, ne permet en aucun cas de distinguer un trait de visage ou de caractère.

C’est seulement l’humain que l’on reconnaît, comme une entité incarnant le “Je”, comme si l’être humain était le seul “Je” que nous pouvions reconnaître. Parler de ce pronom personnel devient donc paradoxal car il est à la fois propre à chacun mais il incarne aussi un ensemble d’individus.

Ces photographies s’approchent d’une pensée orientale, notamment le taoïsme, où “autrui est un variable de mon moi”. Les personnages que l’on perçoit mettent en avant cette pensée par l’orientation de leur regard sur l’horizon. Cette vision portée sur le lointain, guide le spectateur sur l’observation de quelque chose de non identifiable. Mi-Yeon nous libère de nous-même à travers ce travail très graphique. L’artiste exerce un jeu de traitement en utilisant une  impression sur papier « washi », qu’elle re-photographie ensuite à l’aide d’un appareil digital. Certaines sont sérigraphiées. Elle obtient un rendu très graphique, aux couleurs pastel et lumineuses où de forts contrastes se dégagent. Le grain des images nous amène à percevoir une certaine texture, comme si la relation que nous entretenions avec le monde était matérialisée.

Cette approche perceptible d’un élément que nous ne pouvons pas identifier à l’oeil nu fait l’objet d’un regard sensible et poétique de la part de Mi-Yeon. Le spectateur s’oublie pleinement au milieu de ce travail artistique donnant naissance à des émotions qui nous submerge. Sa pensée philosophique taoïste, montre une recherche de sagesse visant à atteindre l’harmonie. Celle-ci place le coeur et l’esprit dans la voie (le Tao), c’est-à-dire dans la même voie que la nature. Mi-Yeon fait émerger la nature intérieure de chaque être humain à l’aide d’une vision, qui au départ, est portée sur elle-même. Son orientation très altruiste s’inspire de sa contemplation sur les échanges avec le monde qui l’entoure.

Ce regard sensible dévoilé ne peut qu’être contemplé. La série photographique “I and Thou” impose alors un oubli de soi. L’esprit s’évade au travers de son oeuvre ce qui aboutit à une réflexion sur les relations que nous entretenons avec les autres, avec la nature et avec le monde. Mi-Yeon parvient à transmettre sa philosophie, comme si ses images prenaient possession de sa pensée, devenant alors l’incarnation d’elle-même, de son “Je”.
– Anne Clergue Galerie


I and Thou 

Mi-Yeon’s photographic series, « I and Thou » follows her reading of Martin Buber’s book.
Mi-Yeon’s photography explores the relationship, the relationship between oneself and the world.
There is no identifiable portrait or individual identity function in this work.
We are miles away from the selfie. Rather than egocentric, Mi-Yeon’s work is ego-dicentric.
Echoing Taoist and Buddhist teachings, the photographer states that « The other is a variant of
myself. In this series, I try to convey our soul’s connection with the universe which exists in another dimension, one without space or any notion of time. »
– Nathalie Gallon (curator)


“Photographs that disengage us from ourselves”


One thing I notice when I look at the photographs in Alone Together is that there are people in all of them, but not a single one of the photographs is shot at the distance you would expect when ordinarily engaging with other human beings.

I have been taken with this fact for quite a while now.
Most of the human figures in the photographs are faraway and therefore small. Spaces with no human beings in them, instead filled with water, sky, rocks, account for most of the scenes. At first glance, you don’t see anyone in the shot, but at a second closer look, you spot a lonely human figure in the corner.
Some of the people were photographed at close range, but they are deliberately out of focus and their image is blurred. Sometimes, they are vaguely vibrating because they are in motion – diving into the water or sitting in a moving car.
The feeling I get from this is that Mi-Yeon is not at all concerned with emphasizing the presence of people in her photographs. On the contrary, she attempts to make them diaphanous, to suspend them in the air, something that is represented symbolically in her multiple-exposure photographs of human figures standing in a street. The individual figures of the people overlap each other and their outlines dissolve, merging into the landscape to form another kind of presence.
In many of the photographs we see the sea or sky or rocks featured big, but do not get the sense that the people are being swallowed up by them. This is perhaps because, even at a distance, the photographer’s gaze is fixed on the human figures. Someone sitting on the jagged rocks holding a sun umbrella. Some men standing in the water about to catch a beach ball that is up high in the sky above them. Two people travelling through the water in a boat that leaves a trail of white foam in its wake.
As Mi-Yeon stares intently at the human figures, the people in the photographs stare at something faraway and imperceptible to us. The same is true of the photographs of the black silhouette of a line of people.
Mi-Yeon wrote the following in the preface:
“When in a large crowd of people, “I” vanishes.
Within the “countless I’s,” the “big I.”
I sense that she does not feel afraid about her “I” vanishing, that she even welcomes that experience, but when I read her words, a thought crossed my mind. That maybe it was through photography that she came to have this feeling.
When we stare at something, we go right inside the thing we are staring at. We become one with the object, for the most part without even realizing it, and have the experience of ourselves disappearing. The smaller the object on which our eyes are trained, the more concentrated the object becomes, like looking at something through the eye of a needle, and the extinction of “I” is achieved.
The act of taking photographs is nothing other than looking at the photographed object over and over again. Through this repetitive act, the feeling that we are liberated from the self, a self that is bound to “I,” and step out into the world is experienced visually in the form of joy.
The fundamental qualities of a photograph are presented by Mi-Yeon as a single idea in Alone
Together.
– Akiko Otake (Writer)

 

 

 

Exhibitions Views

Exhibition View

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I and Thou, Gallery mu-an, Nagaoka, 2017

I and Thou, Gallery mu-an, Nagaoka, 2017

I and Thou, Gallery mu-an, Nagaoka, 2017

I and Thou, Anne Clergue Galerie, Arles, 2016

I and Thou, Anne Clergue Galerie, Arles, 2016

I and Thou, Salon du Panthéon, Paris, 2016

Alone Together, Niigata-eya, Niigata, 2016

Alone Together, Niigata-eya, Niigata, 2016

Yomogi soshi-who might you be?, Gallery mu-an, Nagaoka, 2016

Yomogi soshi-who might you be?, Gallery mu-an, Nagaoka, 2016

I and Thou, Festival Photo Saint-Germain, Paris, 2015

I and Thou, Festival Photo Saint-Germain, Paris, 2015

Alone Together, Space 22, Seoul, 2015

Alone Together, Space 22, Seoul, 2015

Alone Together, Space 22, Seoul, 2015

Alone and Together, Gallery Tosei, Tokyo 2013

Alone and Together, Gallery Tosei, Tokyo 2013

At the age of two, Setagaya Lifestyle Design Center, Tokyo 2002

At the age of two, Setagaya Lifestyle Design Center, Tokyo 2002

At the age of two, Setagaya Lifestyle Design Center, Tokyo 2002

I was born, Gallery koubun, Tokyo 2000

I was born, Gallery koubun, Tokyo 2000

 

 

book-ナナイロノコイ

Publication

Nanaironokoi (Seven Colors Love), Kadokawa Haruki Cor., 2006

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Anthology of short stories (Love Romance)
江國香織/角田光代/井上荒野/谷村志穂/藤野千夜/ミーヨン/唯川恵

book-5

“Nanaironokoi (Seven Colors Love)”, Korean Version, Sodam Publishing co.,2006

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News

Some of Series “Alone Together”, will be exhibited as part of Gallery Collection Exhibition, “Gelatin Silver Print”.
Dec 1st – 29th 2017, Space 22, Seoul, South Korea

http://www.space22.co.kr

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Mi-Yeon Photo Exhibition  “Yomogi soshi – Who might you be?”

Roonee 247 fine art / Recommend wall
21st Nov – 24th Dec 2017
12:00-19:00 Closed on Monday
17-9 Sato Bild 4F, Nihonbashi Kodenmma-cho
Chuo-ku, Tokyo

Roonee247


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Solo Exhibition I and Thou 

Gallery mu-an, Nagaoka, Japan
8  – 18 July 2017 11:00  – 17:00
■ Artist Talk and Receiption:8 July, 14:00 〜

http://www.mu-an.net

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Three-person Exhibition “Regards sur la Corée”, as part of the Festival Regards d’ailleurs,
la Chapelle de l’Hotel-Dieu, Dreux, France

14 January – 26 Mars 2017
Opening Reception : 8 Mars, 17:00
Curated by Nathalie Gallon

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Group Exhibition “the Grand Prize Winners of ShaShin Book Award in Paris”

18 – 23 October  2016  13:00ー19:30
Lumen gallery, Kyoto, Japan
■ Artist Talk:22 October 18:00 – 19:00

http://www.gallerymain.com/exhibition2016/shashinbookaward.html

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Solo Exhibition I and Thou

Le Salon du Panthéon, Paris, France
26 September – 20 December 2016
Curated by Nathalie Gallon

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Solo Exhibition I and Thou  

3 September – 1 October 2016
Anne Clergue Gallery, Arles, France

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Solo Exhibition Alone Together 

Niigata-eya Gallery, Niigata, Japan
2 – 11  August 2016
■ Artist Talk : 6 August 18:00~19:00~
http://niigata-eya.jp/1891

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Article on actuphoto about Exhibition “I and Thou” at Anne Clergue Gallery in Arles, France

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Interview on Asia PaperCamera

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DM Yomogi soshi

Solo Exhibition Yomogi soshi-who might you be?

23 – 30   July 2016, Gallery mu-an, Nagaoka, Japan
■ Artist Talk and Reception : 23 July 15:00 〜

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Group Exhibition “the Grand Prize Winners of ShaShin Book Award in Paris”

4 – 13 December 2016,  tokyo arts gallery, Tokyo, Japan
11:00 〜20:00  (closed on Monday)
■ Artist Talk and Reception : 5 December 17:00 –
http://www.tokyoartsgallery.com/next.html

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Two-person Exhibition “Ephémérides coréennes”
As part of the festival Photo Saint-Germain, and the French-Korean Year.

7 – 22 november 2015,  Tarfa Project
29 Rue de Seine 75006 Paris, France

Mi-Yeon (photo)
Cori Shim (Video)
Curated by Nathalie Gallon

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All handmade photobook, ” I and Thou“, limited edition of 72.  (Sold Out)
Pre-orders are available through Reminders Photography Stronghold.
For more details, please see the following link.

http://reminders-project.org/rps/iandthousaleen/ (english)

     

*Review by Gabriela Cendoya
https://gabrielacendoya.wordpress.com/tag/mi-yeon/

* “I and Thou” was shortlisted and exhibited at Unseen Photo Fair Amsterdam 2015.
http://www.unseenamsterdam.com/2015-shortlist-revealed

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Solo Exhibition Alone Together

Space 22, Seoul, South Korea
16  September〜7 October 2015

http://www.space22.co.kr/

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The 2015 Handmade Photobook Exhibition by Workshop Participants
Reminders photography stronghold, Tokyo, Japan

5 – 23 September 13:00 – 19:00
http://reminders-project.org/rps/map/

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Become a member of Art Photo Index by photo-eye SANTA FE, USA

http://www.artphotoindex.com/api/#photographer/Mi-Yeon/19201

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Photobook Alone Together will be displayed at Benaki Museum during Athens Photo Festival 2015

6/3 – 7/31 2015
http://www.photofestival.gr/

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Photobook Alone Together featured on Self Publish, Be Happy – U.K

http://www.selfpublishbehappy.com/ 

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ギャラリーときの忘れものに連載されている大竹昭子さんのエッセイ、<迷走写真館>一枚の写真に目を凝らす、第28回に、「よもぎ草子」が掲載されました。独特な視点で、写真を読んで下さっています。

http://blog.livedoor.jp/tokinowasuremono/archives/cat_50032565.html

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下北沢にある本屋  「B&B」にて、文芸評論家の若松英輔さんと対談いたします。
5月23日(土)19時〜21時

若松英輔さんのウェブサイト
http://yomutokaku.jp/

「B&B」
http://bookandbeer.com/blog/event/20150523_yomogizoushi/

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Photobook Alone Together will be displayed at the Philadelphia Photo Arts Center Book Fair by the Indie Photobook Library.

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My interview and photographs on Japanese photo magazine ‘Photo Asahi’.

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Korean photo magazine, PHOTODOTB 2014年 11月号 vol. 12 November

http://blog.naver.com/photodotb/220170069851

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よもぎカバー+透明ケース

My second photo book Yomogi Soshi – Who might you be? is published from Madosha.

more info

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Photobook Alone Together has been selected for one of the three winners of Shashin Book Award 2014 in Paris, France

2 shows for Shashin Book Award 2014
– Photo Off – 11/13 – 11/16, 2014 during Paris Photo, La Bellevilloise
– in)(between gallery – 1/5 – 1/16, 2015
Opening Reception: 1/8
3 rue Sainte-Anastase, 75003 Paris, France
Shashin Book Award 2014 – English

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RPS

“Review of Photographer and Photobook” at Reminders Photography Stronghold, Tokyo, Japan

http://reminders-project.org/rps/miyeonjp/

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My First Photobook “Alone Together” was published.

more info

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書き下ろし短篇「トゥールの日々とペルシアの黄色いごはん」と 写真を掲載していただきました。
『URBAN NATURE』Vol. 01, 2014 京都学院大学 君塚洋一研究室発行、¥500(税別)

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ASAHICAMERA January 2014

Series Alone Together featured in Camera Asahi magazine January 2014 issue.

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Mi-Yeon Photo Exhibition Alone and Together

Gallery Tosei, Tokyo, Japan
29 November  – 26December 2013
11:00am – 7:00pm  Closed:Sun. Mon. National Holidays

book-I was born

Publication

I was born Seoul, Paris, Tokyo, Shohakusya Publishing com., 2001

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Book Design : Seiichi Suzuki

Essays + Photos of Seoul, Paris, Tokyo

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press

press

apeiie   kkiii  abediekowin                       beatle     Je ne suis ;as arabien je suus farabcauseuse et toitiur 

Works

Works

Yatra (tentative)
ongoing
Kuu
“I”, with a thousand faces
ongoing
I and Thou 
Alone Together
Yomogi soshi-
Who might you be?
At the age of two 
I was born 

Yomogi Sosi-who might you be?

Works

Yomogi Sosi – Who might you be?

 

One day, a single weed popped up along a route I often took to school.
Rainy season had just begun, and the weed was shooting up, taller each time I saw it.
I looked forward to monitoring the progress of that weed day-in, day-out as I passed by
each morning and evening.

I wondered what landscape the weed saw – roots burrowed in the ground, spending its
entire existence in the same place, unable to take a single independent step – and what
it looked at. Lowering my camera to its level, lying flat on the ground, I peered through
the viewfinder. Captured in the square frame, looked at, the weed was in turn looking.

The weed’s name was himemukashi-yomogi – Canadian fleabane.
Having encountered this specimen of yomogi I started noticing other weeds
unobtrusively growing wild about the place. From the rainy season into summer,
I set out to check out different paths, eager to encounter their tiny presences.

After a while I noticed that the yomogi had fallen over. I continued to photograph it,
whatever state it was in. Then one morning, it had disappeared without trace.

That weed fulfilled its life, albeit short, and even now, as if searching for its reincarnated
form, I find my eyes drawn to other yomogi, on other, different paths.

Memories all mine, of which no one else knows: sometimes they threaten to melt,
mirage-like, in the heat of that hot summer, yet our conversation, like a series of trysts,
is captured on film, crystal-clear and evidence-like.

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Kuu

Works

Kuu

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At the age of two

Works

At the age of two

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