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伊藤 悠吾/Yugo Ito/ダゲレオタイプDaguerreotype/湿板写真WetPlateCollodion/乾板写真DryPlateCollodion/ - Materialising the moments -
"Oblivion Terror" x "Craving For Existence" x "Physical Linkage" x "Impermanence" x "Physical Photography"

[+ Exhibitions]


2013 Shutter Released (On-going)
2015 Life-Size Physical Linkage

2015 Oblivion Terror
2017 Modern Seoul Dryplate exhibition by
2017 Shooting & Processing Workshop by MATERIALISM[/fade]

[fade](EN)2017 Modern Seoul Dryplate exhibition / Shooting & Processing Workshop

(한)MATERIALISM에 의한 건판사진 촬영&현상 특별체험회

(日)2017 MATERIALISM による 乾板写真 撮影&現像 特別体験会[/fade]


[fade]Life-Size Physical Linkage, 2015

・Lithographic film(リソグラフィック フィルム)
・Cyanotype print(サイアノタイプ プリント) , Self-made      negative film(自作ネガフィルム) 
    -1,810 cm × 90 cm

 - 2015 Exhibited at PG show of the University of the Arts     in London, UK
 - 2015 Ehibited at Leyden Gallery in London, UK[/fade]

[fade]This cyanotype work was made to embody five essences of my photography, which is "Oblivion Terror" "Craving for Existense" "Physical Linkage" "Impermanence" "Physical Photography"

Oblivion Terror : human-being have met with the Oblivion Concept after acquiring thinking through the Congnition Revolution. 
Craving for Existense : this is one of three types of Taṇhā (cravings) identified by the Buddha. This craving is for immortality and trace of oneself after death
Physical Linkage : I believe that the elementary particles of light which once "touched" the subject that I wish to preserve remain on a light-sensitivity surface such as a silver plate, a glass and a film sheet, and I have called this Physical Linakge.
Physical Photography : I have called analogue Photography "Physical Photography" as a retronym to compare with Digital Photography. Physical photography get aged with time and gives us an opportunity to experience impermanent beauty. 
Impermanence : Life is impermance. This is also a relvent word in Buddhism.

My initial motive for making this cyanotype was to get my exact life-size physical linkage, which means, in other words, I have suffered from the craving for existence. There is nothing different between ancient people and modern people. Photography is the best ever invention for filling this craving.
I intentionally made digital noise-like cracks throughout the print. It feels that my existence is being deleted. It was all for letting modern people totally relying on the digitalised society "Life is impermanence." In addition to that, I hope this cyanotype print will get aged beautifully and give the next generation an opportunity to experienece "impermanent beauty".[/fade]

[fade]To get the life-size image of myself, I built a very large portable camera (2m height × 2m length × 1m width) and obtained a special lens. Here are the camera and the process of the self-made negative film (1,810 cm × 90 cm).[/fade]


[fade]Shutter Released, 2013 ~ On-going

 - 2015 Exhibited at PG show of the University of the Arts in London, UK
-  2015 Ehibited at Leyden Gallery in London, UK


People nowadays produce a lot of photographs believing that this is necessary. Usually people just keep these photographs digitally and end up forgetting their existence.

I was pleased to give the participants in my project a chance to take an unusual self-portrait. It is very simple. My idea was that by the subjects holding a shutter release cable and taking their own pictures, the subjects would have autonomy and an authorship of their images that supersede the photographer. In other words, this would strengthen the photography's essential feature, the power of assuring the referent's existence. It would also affect an impression that they have when they look back at those photographs in their futures.

Unfortunately, there were many victims of the Great East Japan Earthquake 2011 who lost their photographs taken over the previous ten years because they were only kept digitally. Although most of the photographs in their digital devices disappeared, many physical photographs such as prints were saved.

Now, photography (our memories) is at a crisis point.

This project is on-going. If you are interested in participating this project, please feel free to send me a message. 

These photographs were made using slide film. I will eventually give theses slides to the people in the photographs thus connecting them with their Physical Linkage.[/fade]


[fade]Oblivion Terror(망각공포), 2015

Wet Plate Collodion Ambrotype(습판사진, 암브로타입)

 - 2015 Exhibited at PG show of the University of the Arts      in London, UK
 -  2015 Ehibited at Leyden Gallery in London, UK
 - 2016 Exhibited at Glen Echo Photoworks Gallery in             Washington DC, US

 - 2015 런던예술대학원 LCC 졸업 전시회, 런던, 영국
 -  2015 Ehibited at Leyden Gallery in London, UK
 - 2016 Glen Echo Photoworks 익스비션, 워싱턴 DC, 미국[/fade]


Oblivion Terror Management” underpins my photography. When the Great East Japan Earthquake occurred, most people lost everything and were desperate to find their photographs. Many victims of the earthquake began to wash the mud out of their retrieved photographs. I believe this is because of the true power of photography that assures the referent’s existence, which in this case would mean that their lives’ consistency would be assured. Consistency is substances gathering together. Each substance corresponds to an experience. Experiences can never be memories until something is suggestive of the experience, bringing it back into one’s consciousness. Thus, when people lose their photographs, people cannot help but regard this as losing the referent itself. Human beings recognise an experience A as a memory after ‘experiencing’ the experience A. Photographs can be suggestive. Experiencing the past presence in a photograph is the essential feature of photography, which strengthens life’s consistency.

This wet plate collodion photograph is my very first successful shot in my life. It dose not only represent “Physical Linkage” but also expresses “Oblivion Terror” by the shadow that is about to overwhelm me in the photograph from the right bottom.[/fade]

Oblivion Terror(망각공포) Management” 는 나의 사진철학을 뒷받침하는 것 중의 하나입니다. 동일본 대지진이 일어났을 즈음에, 모든 것을 잃어버린 피재자들은 「사진만은」 하고 필사적이 되었습니다. 왜 일까요. 그것은, 사진의 본질적 특징인 피사체의 존재를 보증한다는 힘이 있기 때문입니다. 그것이 그들의 인생의 강도를 보증해주기 때문이겠지요. 인생의 강도라는 것은 밀도입니다. 결국 무언가의 집합. 그 무언가는 경험입니다. 그러나, 그 경험도 무언가의 계기에 의해 상기되고, 의식의 곁으로 돌아오지 않으면 기억이 되지 않습니다. 그렇기 때문에 인간은 사진을 잃으면 그 자체를 잃어버린 듯한 감각에 빠지는 것이겠지요. 경험의 「경험」 을 다해서 인간은 그것을 기억으로 인지합니다. 그리고 그 계기가 되는것이 사진인 것입니다. 사진의 본질적 특징인 「과거의 존재」 를 경험시키는 힘, 이것에 의해 인생의 강도는 강고해 집니다.   

이 습판사진은 나의 인생에서 가장 처음으로 성공한 습판사진 입니다. “Physical Linkage”를 나타낼 뿐만 아니라, 오른쪽 아래로부터  “Oblivion Terror(망각공포)” 인 듯한 검은 그림자가  나를 금방이라도 덮어씌우려고 하는 것처럼 보입니다.[/fade]