"Beautiful" is an instinct.

When I think of this, I encounter "Nagi -Lull-" and see the texture "Qualia" in the mental landscape, and acquire the "fluctuation" in it as an inherent beauty.　

"Nagi-Lull-" It is a visual fragment (fragment of continuity) of "fluctuation", and is an attribute as "fluctuation" that transcends time and stands in the space.　

 

“cogito ergo sum (I think, therefore I am)”  And just think.

When we think of something, we are simultaneously experiencing some kind of "fluctuation" as a texture=Qualia. Every time we do, we see the affirmation (recognition) of our existence, and feel a sense of "peace" (that we can exist). My attempt is to express one of the answers to the comfort of "fluctuation" through the method of photography.  And it is a "re-experiencing" of aesthetic consciousness, which should be experienced as the texture “Qualia" with a sense of nostalgia and some kind of elation.

When the "fluctuation" touched by instinct is propagated as sympathy and exists as the sign of art, what is created as art works is explained by the theory of "Marginal art," this is a concept in the vein of pragmatism and was spun in post-war Japan. The "treatment≒mononoaware" for taste and beauty is a primitive human desire, and it would been the complex which has been belonging to the only individual instinctive experience, and which had given birth to unconscious art. 

When a photographic moment that captures the "fluctuation ≒ Nagi-Lull-" as its texture is established, it can become a work of art as a photographic expression.

If the origin of artistic expression is "instinctive ≒ primitive" as a derivative element before sublimating to Marginal art, the concept that is the root element of Marginal art and exists while floating and swaying on its "edge" is gazing at another, new horizon.

It is "Marginal Photographic Art," as a concept that wavers very slightly, like Zero≒0 on the borderline of Marginal art - "Zero-horizon formula" - it is set at the center of my taste.

 

I have given all of my works the nature of monochrome.

By sealing the color, I led reality into abstraction and sought freedom of "thought”.

In that way, the infinite gradation of light and shadow shifts into a paradigm that reminds us of eternity.

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And if one can embody the "In praise of shadows" that would be a great accomplishment.

In the pursuit of photographic expression, this endeavor represents a classical revival, embracing the beauty woven by light and shadow, and a return to the origins.

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Thinking about the fragments of reality that we can feel in the midst of human activity,

I would like to describe the photographs as "beautiful.

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Naoki Kimura