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I wrote my interview.

Title of six photographs.
「" The color of a whisper "」

October 29. Saturday. Until 12:00PM-7:00PM.
October 30. Sunday. Until 12:00PM-6:00PM.

I am staging an exhibition now.

the place It is following.


I wrote my interview.

It was translated and held.
Thank you.
Dear yumi- ikeda san.

Please read the interview to the last minute.
I strongly hope not to cause the misunderstanding.
The following text is from a brochure for my exhibition.

Interviewer: Your photos for the exhibition were taken n Italy.
Did you take something into consideration in particular?
For instance, the functional adjustment of a camera.

stealaway: I didn't care about it at all. I had a spare camera, Cybershot, but
I seldom used it. If anything should happen, I thought I will buy another one in Italy. I believed I could photograph with any kind of camera even if my camera is broken.

K: (He considerably has a swelled head .....)
So, is there anything you turned attention to most?

S: Running away!

K: Running away?

S: Yes, running away. That's of most importance in my photography.
Thinking of composition doesn't take much time. I captured a scene in an
instant. It's faster than a shooting star. In such a situation, I don't have a
time to choose a good place for a photo. Naturally people overlap with the

And you know, in these times, I might be hit in the face if I try to turn my
camera to somebody. So, I am ready for being hit and I always try to run
away as soon as I released the shutter.
Physical strength is most important.

K: Hmmm, I thought you took a photo so easily in a kind of affected way.
That's what I thought from your photos.

S: In a kind of affected way? Like what?

K: Let's say, like taking a photo chewing a short cigarette in the end of lip.

S: Is there such a fellow?

K: I don't think so. But I thought you were one of that kind of photographers.

S: No, Absolutely not! In my case, rather a battlefield. I photograph avoiding
a bullet, somebody's gaze. And I capture the composition in an instant as I
mentioned before. I never let a good opportunity slip. I heard a person who
developed Cybershot talks. He says that not until releasing the shutter did
we realize the value of a camera. I think it's quite right.

K: But lights and shadows go first in photography, don't they? It seems to me
that the technique on a basis of functions of a camera is important.

S: I have seen that somebody says such a thing in a camera magazine.
"We must be able to judge aperture instantly." It's ridiculous! I have not
looked at the magazine since I saw the article. Such a trifle matter
is of secondary importance. The most important thing is composition.
If a photo is not well-composed, it is just a rubbish even though it was
taken with a super camera.
Composition is much more important than lights and shadows, I think.
This is relevant to every kinds of art, not only photos. No, not to only art,
but also to the balance in culture and also to the balance in the world.

K: The balance in the world?
Will you please be more specific?

S: Sure. I have talked with a guide who speaks Japanese on a first day and a
last day of my trip to Italy. He has lived in Japan for seven years and
speaks Japanese so fluently. His talk really moved me.

K: What kind of talk is it?

S: He says that Italy is connected with Switzerland, Austria, France by land,
but they respect each other and keep a good balance. In short, they have
kept a good balance through various troubles in their long history,
understanding their differences or their advantages each other.

I f you have a chance, just look at European map.
I thought that the lay of the land gets acclimatized to individual culture.
The elements of these backgrounds lurk in the art. That's why their
composition in design and painting are beautiful.
That's a kind of sense which we Japanese in an island country lack.

K: Actually, how would you like Milan or what did you feel during seven days
stay there?

S: I have stayed in New York for a while on my honeymoon. The feel I got in
NY is similar to that in Italy. NY is such a dilapidated city. It's really in a
mess. Homeless people are seen here and there in a town.

However, I feel the energy from this city. People I saw on the streets don't
look so stylish like models in gravure pictures of magazines.
But the colors in their fashion is really sophisticated. Not a famous brand,
apparently a cheap one, but the sense of the colors are so terrific.
I have thought that fashion is not a brand, but color. And shoes are most
important element for a good fashion. This sense of balance is just the
same as the one we need in composing a photo..

In Italy, I felt the energy in tranquility, just like the feel I got in NY, where
the mood was a kind of cold and sad, but a great energy lay underneath.

K : In this exhibition, you mainly chose the photos in Milan and a theme is

S: A cold feel and a fever sinking deeply in my mind...a mixture of two
directly‐opposed feeling. This chaos is similar to what I feel
unforgettable and impatient. I think I made a good choice.

K: You told a lie in the information about your exhibition, didn't you?

S: Did I? What kind?

K: You repeatedly informed that main photos for the exhibition are monochrome ones.

S: In my favorite novel, there is a passage in the beginning, "If I am allowed
to tell a lie, I want to make a lie like a bright red rose.
Normally it is a woman who says like that.

K: Your work exhibited at the entrance of the room is made of vinyl sheet and there is an English newspapers clipping with some chocolate-looking varnish.

S: The title of the work is "RE:Times".
It's an entrance which makes me back to unforgettable remembrances.

K: A direction board through the entrance is exquisite. Slight varnish on a canvas makes the work more tasteful. Is it Robert Ryman's touch?

S: I really love his works. I just happened to know his works at a museum in my neighborhood. The composition based on white color is absolutely beautiful.

K: Are you rather fond of abstract paintings?

S: Yes, I am. There are Rembrandt's works at a nearby museum, but I don't like his works. I rather like abstract expressions in Renoir's works.

K: Why?

S: Simulates our imagination.

K: Like how?

S: It is hardly necessary to mention about this kind of talk. It has been a subject since the time of Platon and Aristoteles. Like how idea is ...that kind. Might be easier to think if you replace with photos.

For instance, photographers are trying to scoop out the essence in an object. It' s like the way in Rembrandt's works. I think. But I like Renoir.
I don't like to photograph the essence of an object as it is.
What I like is an interpretation which permeated through the photographer's thinking. I'm fascinated by the works reflecting the artist's intense feelings. It's a matter of taste though.

In my case, abstract works rather stimulate my brains.
Capturing an object as it is ....this is just the same as copying as you see. Don't you think so? That way will be boring soon or later, I think.

K: Well, I understand what you mean somehow from a series of your works.

S: I wanted to go back to the depths of remembrances with monochrome photos. From the depths, the image is getting colorful little by little to vivid, lively colors. Then, the image finally becomes pure white. In the depths, the confined monochrome images or colors are left.

K: Is there any deep significance in this thought?

S: Of course. "Unforgettable". This word alone gives us a bit of gloomy feel, doesn't it? But actually it's not. Even though the past is a faded, painful, sad one, it becomes the support to go through the present time.

Giving a coat of white paint to the monochrome images in the past and the colors alive in this moment....this will be connected with the future, I think. I paint all with white to get over the history in the past and a present conflict. This is truly a means for the future.

But to tell you the truth, I wanted to avoid adding my interpretation in this way. It may spoil a freedom of people who appreciate my works. But might be good and unique to convey the artist's intention.
I'm sure you will feel good if you go around the exhibition room.

K: I understand the tone of your works somehow. By the way, you titled your works one by one this time also, like your flog.

S: Yes. I think a title is very important. But I took care not to comment in my words. I felt that extra words are not necessary this time.
I'm confident that my works tell enough.

K: Let's back to the titles of your works at the entrance.

S: Hmmm, some of the titles might be changed at the last moment.
I'm fickle. But I think I will go with these titles.

K: Most of clippings are from English newspapers, aren't they?

S: Not only English newspapers, but also Italian, German, Portuguese ones
I tried to clip. And fashion magazines, men's magazine, "details" and women's magazine, "cosmopolitan".

K: Did you get a hint from somebody's work?

S: Robert Ryman's composition, and the feel of a material and an idea from Joseph Cornell. Finally I found my way to Picasso.
Do you know Papier Colle? It's perfect!
He is truly a genius. He has kept on working to the last moment of his life and has left innumerable works. I was moved that he has continued to change.

His style of pasting papers is great because the image is perfectly completed before starting to work. Almost accurately to an inch. This style is also seen in his paintings.
I have seen his picture drawn with a single stroke of the brush. It was touching enough to make me tremble. This way is also similar in photography. The image is already fixed before taking a picture. I release the shutter at the same time as the image was fixed.

K: But there is a little gentler impression in the flow of your works, different from the image of pasted papers. Your works with tracing papers, green one and red one, both will catch lady's eyes.

S: In fact, I have given my works of pasted papers as presents to my girlfriends. Oh, this is a talk only between you and me. My wife doesn't know this.
I have not presented it to her.
Well, the work which pleased my friend most is a notebook pasting clippings of John Lennon's poems and paintings and his self-portraits neatly. I feel I want to keep my works when they are completed. So I always regret having presented them to somebody.

K: Now there was a talk about John Lennon. So I want to ask this.
How would you say about his attraction?

S: I hate the image of his song "Imagine". He is worshipped as an existence like
a god of peace. I feel it's hypocritical in some way.
I like him that's because he is very selfish. He has made a great fuss with
Yoko Ono. He has expressed his honest feeling as he feel in his songs.
I like such an innocenct part in him. He has made a brave try at something
like "bed-in". I am attracted by such a straightforward aspect.
I really adore him. I want to live like him.

K: The word "peace" reminds me of another person.
How about Michael Jackson who is the first to perform at charitable events?

S: He is now trying to do that kind of performance, isn't he?
Although the judgement was 'not guilty', he is guilty in my mind.
He is a kind of person who never learns by experience.
Anyway, I just want to say, "Try hard for the present!".

K: Shady?

S: Pretty shady.

K: But you are going to donate a part of sales of your collection of photographs. How would you explain about that?

S: I do my best within the limits of what I can do. But in the moment it became beyond my capability, I think I stepped in a field of falsehood.

K: You are going to publish a book next year.
What image do you have for your book?

S: I will make an effort to surpass designers in Germany, England, France, Italy and New York.

K: How would you say about Japanese designers?

S: It's a group of rubbish.

K: Oh, what made you say so?

S: I sometimes happen to see some excellent design. But compared with overseas designers, they are as different as chalk and cheese.
There is a same tendency in advertisements or TV commercial. Most of Japanese ones are so dull.

K: But I guess they have to listen to their client's requests.

S: Is that the reason? If it is right, that means they don't have the power for the presentation at all. A person who creates must persuade his client who doesn't have an eye for a nice job. This is the procedure we should follow anytime. Don't you think so? There were supposed to be patrons in the world of classical music, too. It's the same as what I've just said. If they are mortified, they should work hard. I must say the most disgusting is the design for cars.

K: What do you think of overseas designers? For instance, New York.

S: I want designers in New York to try harder. Recently design is mostly processed by means of a computer. I think it's wrong. I want them to show us a freehand design like a profound painter's works with plenty of oil paints. Computer can't make the flesh of design. They must use their hands. They are hopeless if they hold just a coffee cup and a mouse.
I sincerely wish they will do their best. I just want to see works like Andy Warhol's.

K: But in New York, not only designers but artists in every fields talk that New York has changed since 911.

S: That's a different point of view from mine. Actually nothing has changed before nor since then. I think I will write about it in my book. 

K: Do you think you based your expression fully on such questions or pent-up feelings?

S: I did my best. Now I am almost empty. The reason I used the word "almost"
means that there are still three works to be completed at the point of time I
am writing this. I'm writing this in hurry to ask for the translation. But
there is nothing I can do any more. If somebody who likes my works visits
my exhibition, I'm sure he or she will think my works are nice.
I'm confident of them.

K: You told that you want to change the concept of an exhibition of photos.

S: Before I left for Italy, I wrote I will be back with great photos. It needed a lot of courage to say like that. I understood I might give the impression that I am an impertinent fellow. But I couldn't make it unless I force myself to state positively. Tell myself and trust myself! In my case, it is necessary to force myself to such a situation. Therefore I started to make my works in earnest from mid of October. I have done all I can do. So I have nothing to regret.

K: I'm looking forward to the publication next year.

S: Me, too.
I have taken photographs and have made works which I myself want to see.
My mind will never change in future, too.

Postscript. I signed the contract of publication.
Postscript. I am not writing in return from the following places. It is
not possible to answer yet.
However, I write in return from the place.


「" The color of a whisper "」

October 29. Saturday. Until 12:00PM-7:00PM. 
October 30. Sunday. Until 12:00PM-6:00PM.
Dear yumi-san.



All photographs that will be up-loaded in the future are photographs of my exhibition. 
The theme of the exhibition is unforgettable. ?The photograph of the monochrome is the main. 
japanese is the following. 


聞き手。「個展の写真はイタリアで撮影されたらしいのですが、気をつけたことなんてありましたか? カメラの調整などで」

K (この人って随分うぬぼれているな...)

S 逃げ足だね。

K 逃げ足?

s そう、逃げ足。僕の中で、もっとも大切なことなんだ。構図を決める時って、ほんとうに一瞬なんだ。構図になる瞬間の風景は、流れ星より速いよ。そんな中で、撮影している時って、場所なんか選んでいる暇はないんだ。だから、当然、人がそこに重なってくる。そうなると、このご時世だからさ、カメラなんて向けられたら、殴られるだろう? だから、撮影している時は、殴られるのは覚悟していたし、そうはならないようにシャッターを切ったらダッシュ。体力が最も肝心だよ。

K あのー、今まであなたの写真を拝見していて、気取ってあっさり撮影しているかと思っていました。

s どんな風に?

k 短くなったタバコを唇の端で噛みながら撮影しているような...

s そんな奴いるの?

K あんまり見かけないでしょうね...あなたがその類いの人かと...

s それはまったく違うね。どちらかっていうと戦場だよ。人の視線っていう弾丸を避けながら撮ってる。それに構図が決まるのは一瞬だからね。僕は絶対に逃さないよ。以前、サイバーショットの開発者が話していたんだ。

K しかし、写真って言うのは、まず光と影ですよね? そうなると機能も重要な気もしますけど。

s そういうことが日本のカメラ雑誌にも書いてあった。F値がどうのこうのと想像できるようにならなければなりません。バカらしいね。その雑誌は二度と手にしなかったな。

K 世界のバランスと言うと、例えばどんなことでしょう?

s イタリアに行った時、日本語が話せるガイドの人に最初と最後に話したんだ。彼は、日本に7年間住んでいたらしくって、とても日本語が上手でさ、彼がとても大切なことを話してくれたんだ。

K どんなことですか?

s イタリア、スイス、オーストリア、フランス。私たちは、陸続きでありながらも、お互いに尊重しあい、均衡を保ち続けています。そう話していたよ。つまり、長い歴史の中で様々な問題を切り抜けながらも、今、こうして各国とバランスを保っているっていうことなんだ。それぞれの国々の要素や利点を、互いに調整しあって均衡を保っている。

k 実際、ミラノに7日間滞在してみて、何を感じましたか?

s 新婚旅行でニューヨークに少しだけ滞在したんだけれども、その時と同じ感触があった。とても薄汚れてる街なんだ。ゴミは散らかり放題だし。浮浪者らしい人たちも街にたむろしていたりしていて.....

k 今回はそのミラノの写真をメインにして、unforgettableというテーマを選びましたね?

s 冷たい感触と拭いきれない熱。その煮え切れない混在が、忘れられないっていうもどかしさに似ていると思ったんだ。良い選択だったと思うよ。

k あなたは、展覧会について流した情報の中で嘘をつきましたね?

s どんな?

k モノクロームがメインだとあなたは繰り返しアピールしてきました。

s 僕の好きな小説でこんな書き出しがあるんだ。

k 展覧会の入り口の作品はビニールシートで作りましたね。切り抜いた英字新聞にチョコレートみたいなニスを塗って...

s タイトルはね、RE:Times っていうんだ。

k 入り口を抜けた案内板も凝っていますね。キャンバスに、やはり薄く塗ったニスが味わいを深くしているように感じます。ロバートライマン(ROBERT RYMAN)風でしょうか?

s 僕は彼の作品を大好きなんだ。近所の美術館で初めて知ったんだけど、白を基調とした構図がとても美しいよ。

k あなたは比較的に抽象画を好んでいますか?

s そうだよ。その美術館にレンブラント(Rembrandt)の作品があるんだけれども、僕は好きじゃないんだ。どちらかっていうとルノワール(Renoir)のような抽象的な表現が大好きなんだ。

k なぜですか?

s 見ている側の想像力を刺激するから。

k 具体的にどういう意味ですか?

s こういう話って、今さらの話じゃないんだよね。プラトン(platon)とアリストテレス(aristoteles)の時代からある問題でさ、イデア(idea)がどうのこうのっていう..
 ありのままなんて、見たままだと思わない? それっていつかは飽きられるよ。

k 今回のあなたの作品の連続から、なんとなく話されていることが理解できます。

s 僕はモノクロームで記憶の奥にさかのぼりたかったんだ。そこから、すこしずつ色づき始めて、鮮やかに息づいたカラーになる。そして、最後は真っ白になるんだ。その奥には封じ込めたモノクロームやカラーが残されている。

k これにはやはり深い意味がありますか?

s もちろん。

k 作品のトーンはなんとなくわかりましたが、flogのように今回も作品のひとつひとつにタイトルをつけましたね?

s そう。タイトルはとても大切だと思ってる。ただ、今回は自分の文章は避けた。余分な言葉は今回は必要ないって感じたんだ。十分作品で語ってるって自信があるよ。

k まず先ほどの入り口のタイトル。
  2 プロローグ
  3 ざわめいた街へ
  4 葛藤
  5 引き裂かれた街から。
  6 閉ざされた窓。
  7 静寂。(陽光の中で読書する男)
  8 静寂。(駅に向かう女)
  9 言葉の雨。
  10 囁きの色。(COLOR OF WHISPER)
11 胸に秘めなければならない幾つかの事。
  12 再生。明日の色。

S うーん、ひょっとしたら土壇場で幾つかのタイトルは変更するかもしれないね。気まぐれだから...でも、これで行くと思う。

k 英字新聞の切り抜きがほとんどですね?

s 英字だけでなく、イタリア、ドイツ、ポルトガルなんかの新聞を切り刻んでみたんだ。あとファッション雑誌。男性のdetailsと女性のcosmopolitanだよ。

k これは何かヒントにしたんですか?

s ロバートライマン(ROBERT RYMAN)の構図。それからジョセフコーネル(Joseph   cornell)の質感と発想。そこから行き着いたのがピカソ(Picasso)だった。
彼のパピエコレ(PAPIER COLLE)を知ってる? 完璧だよ。彼は本物の天才だよね。ありえない数の作品を最後の一瞬まで作り続けた。常に変化し続けてきたっていうところに共鳴させられるよ。彼の張り紙の手法っていうのはさ、絵画もそうだけど完全にイメージが作る前から完成されているんだ。ほとんど寸分違わずね。一筆書きの絵の作品も僕は間近で見たけど、完璧で震えたよ。これって写真と同じなんだ。撮影する前からイメージがとっくに決まってるんだ。その瞬間と同時にシャッターを僕は切ってる。

k でも、あなたの作品の流れには、張り紙だけでなく、もう少し柔らかい印象のものがありますね? トレーシングペーパーを使った緑と赤のそれぞれの作品は、女性に受けそうですね?

s 実は、昔から女の子に張り紙のプレゼントってしてきたんだ。かみさんには送ってないから内緒だよ。一番、喜んでもらえたのがジョンレノンの詩と絵や彼の写真をきれいにノートに貼付けて送ったのかな。プレゼントしなきゃいけないのに、完成したとき手放したくなくなっちゃった。

k ジョンレノンの話が出たので、聞きますけれども彼にどんな魅力がありますか?

s 僕は、彼のイマジンのイメージが嫌いなんだ。平和の神様みたいに崇められているのが、なんとなく嘘っぽくて..
 彼は、小野 洋子と随分すったもんだがあったでしょう? そんな気持ちを隠さずにありのままのすべてを歌ってきた。彼のそんな無垢な部分を僕は大好きなんだ。
 平和を訴えるにしても、彼の場合、大胆だったよね? ベッドインとか..

k 平和というと慈善的なイベントに率先して行動するマイケルジャクソンなんてどうでしょう?

s 彼ってまたそういうのをやろうとしてるよね? 判決は無罪だったけど、僕の中では有罪になったよ。懲りない人だよ。とりあえず、がんばってねって感じかな..

k うさんくさいですか?

s かなりね。

k けれども、あなたも写真の売り上げの一部を寄付しますよね? それはどうですか?

s 僕は自分にできる範囲内に関しては、最善を尽くす。自分の範囲外になった瞬間、嘘の領域に足を踏み込んでいるんだと僕は思うよ。

k 来年、あなたは本を出版しますが、それに関して今、どんなイメージがありますか?

s ドイツ。イギリス。フランス。イタリア。ニューヨーク。それらのデザイナー達を越えられるように努力するよ。

k 日本のデザイナーはどうですか?

s クズの集団。

k それはまたどうしてですか?

s 中には素晴らしいデザインを見かけたりすることもある。けれども、海外のデザイナーに比べたら雲泥の差がありすぎる。広告やCMなんか見ていても、日本のはつまらないのが多すぎるよ。

k クライアントの意見も聞かなければいけないんでしょうね?

s それが理由なの? だとしたら、プレゼンの力がまるでない証拠だよ。見る目のない人間を作り手は必ず説得しなければならない。これっていつの時代もそうでしょう? クラシックの音楽にもたいていパトロン(patron)がついていたよね? それと同じだよ。悔しかったら、もっと頑張って欲しいんだ。特にひどいのが車のデザインなんだけど..

k 海外のデザイナーはどう思いますか? 例えばニューヨークとか..

s ニューヨークのデザイナーにももっと頑張って欲しいんだ。最近のデザインってさ、みんなパソコンでしょう? 僕は違うと思う。油絵をふんだんに使った肉厚な画家のようにもっと手書きで作って見せて欲しいんだ。パソコンじゃ肉は作れないよ。ちゃんと自分の手を汚さなきゃ。コーヒーカップとマウスを握っていたんじゃだめだと思う。ほんとうに頑張って欲しいって心から願ってる。アンディウォホール(Andy Warhol)みたいのをもう一度見たいんだ。

k でも、911以降、ニューヨークは変わったとデザイナーだけでなく、あらゆるアーティストたちが話していますが。

s そこが僕と考えが違う。ほんとうは、それ以前も以降も何ひとつ変わってなんかいないんだ。それについては、本に書こうと思ってる。

k 今回のあなたの展覧会は、そういった様々な疑問や鬱憤を踏まえて表現できたと思いますか?

s ベストは尽くした。もう今は、空っぽに近い。近いって言うのは、今、これを書いている現時点で、まだ三つの作品を作らなきゃいけないんだ。これを翻訳してもらう為に今、焦ってこれを書いてるよ。でも、自分でやれることはもうこれ以上はないし、僕の写真を好きだと言ってくれた人が、もし僕の個展に来たら、きっと素敵だと思うはずだよ。

k 写真展の概念を変えたいと話していましたよね?

s 僕はイタリアに行く前から、素敵な写真を撮影してくるって自分のサイトに書いたんだ。それって、すごい度胸が必要だった。生意気だと思われるのも分かってた。でも、そうでもしない限り、僕は撮影できないと思ってた。自分自身に言い聞かせて、自分を信じなきゃって。僕は自分を追い込まないとだめみたい。だから、今回の作品も10月の中旬から本格的に作り始めてる。やれることはもう全てやってるし、もう何も思い残すことはないよ。

k 来年の出版が楽しみです。

s 僕も楽しみだよ。僕はずっと自分の見たいものを撮影してきたし、作ってきた。



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