The work of Sara Fujiwara is photographs, yet not just photographs. This is because they contain "memories" that cannot be fully captured by a photograph alone.
When Fujiwara noticed that the photographs of mustard fields taken in France differed significantly from the memorable mustard fields he remembered, he began to think about expressing the mustard fields of her memory based on documentary photographs. This is what she calls "visualizing memories."
The use of "Photograph" rather than "shashin" (Japanese for photograph) in the exhibition title reflects Fujiwara's incorporation of the original meaning of "photo" (light) and "graph" (to write), incorporating the concept of "drawing with light." By "drawing with light," Fujiwara aims to express the mustard fields of memory beyond mere documentation, attempting to expand the potential of what a photograph can be.
The "Flower Trilogy" (Lotus, Rose, Mustard/Hasu, Bara, Keshi) incorporates various techniques, such as the Japanese painting technique of "blurring" and Fujiwara's unique "detachment," into his signature style of "photographing moments using light and time," which he developed as a commercial photographer at the forefront of the industry.
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