鈴木のぞみ SUZUKI Nozomi

《光の独白》 2015年 ミクストメディア サイズ可変 中之条ビエンナーレ2015 インスタレーション展示風景
Monologue of the Light, 2015, Mixed media, Size variable  Installation view at the NAKANOJO BEINNALE 2015 






「事物の記憶」                                                                                                                                                                                     小原真史                                                                                                                     

「無垢と経験の写真 日本の新進作家vol.14」(2017-2018年、東京都写真美術館) 展覧会評、「写真時評 ~モンタージュ 現在×過去~」、『サイゾー』、2018年2月号より



Born in 1983, Saitama, Japan. Lives and works in Saitama. 



Memory of Objects

                                                                                                                                                                                      KOHARA Masashi

It was when I slept over at my grandmother’s house during my early childhood. I happened to open my eyes in the early hours and see the sunlight shining through a knothole of a wooden shutter and on a shoji sliding door, which formed an upside-down landscape of the inner garden on the translucent shoji paper. At the time, I did not know the terms “camera obscura” or “pinhole camera” or the principles behind them. But my discovery of the mysterious image that reflected on the shoji paper has long remained in my memory as a special event, as if it were a piece of magic that had occurred only at that moment.

The works of Suzuki Nozomi allowed me to recall that amazing moment when I came in contact with an image created by nature through a small hole for the first time in my life. In her representative series of works, the landscape seen through a window is printed as it is on the window glass. Using sensitized glass, she fixates an image through the medium of a pinhole camera or negative film. The indistinct image on the glass window, which induces a sense of nostalgia, appears as if the landscape was automatically printed on the window as a result of being exposed on the glass for a long period of time.

We are familiar with the phenomenon of book spines and curtains near windows becoming discolored due to sunlight. In photography, this phenomenon was turned into a practical use in the mid-19th century, via utilizing the darkening of silver compound caused by the action of light. Her works clearly visualize what can be described as the weak points of a physical substance that are manifested when exposed to light.

In addition, Suzuki creates series in which the appearance of a room that is reflected in a mirror is fixated on the surface of that mirror. In other series, she utilizes small holes in an everyday object to act as a pinhole camera. In the former series, whether or not the viewers are standing before her mirrors, the surfaces of all the types of mirrors she adopts are constantly projecting the events that meet the eyes of the viewers, similar to the way one would see images on a movie screen. In the latter series, the small holes made here and there in a daily object continue to project upside-down images in a place unknown to us. Such an image, seen as a potential photo, is printed on the surface of that common object, which has created an inseparable relationship with that image. But despite the fact that such images have been artificially fixated on daily objects, they convey a sense of human absence.

Everyone has a memory of some sort of a daily article he/she has been attached to. But upon viewing Suzuki’s works, one is driven to imagine that daily objects themselves might also have what can be described as the memory of objects.

Photographs of Innocence and of Experience: Contemporary Japanese Photography vol. 14, (2017–2018, Tokyo Photographic Art Museum), Exhibition Review, “Shashin-jihyo— Montage, Kako x Genzai,” CYZO inc., 2018.

(Translated by NANPEI Taeko)



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《Mirrors:鈴木邸玄関の鏡》2017年 使われていた鏡に写真乳剤を塗布 50×30×2.5cm 撮影:木暮伸也
Mirror from the entrance of the Suzuki residence, 2017, Photosensitive emulsion applied to an used mirror, 50×30×2.5cm Photo by KIGURE Shinya 



《Trace of the Light (部分)》2014年 解体された家の窓に写真乳剤を塗布 174×276×3cm 撮影:木暮伸也
Trace of the Light (a part of the whole), 2014, Photosensitive emulsion applied to windows from a demolished house, 174×276×3cm Photo by KIGURE Shinya 



《Mirrors:姉の手鏡》2017年 使われていた手鏡に写真乳剤を塗布 24×12×2cm 撮影:木暮伸也
MirrorsMy sister’s hand mirror, 2017, Photosensitive emulsion applied to an used mirror, 24×12×2cm 
Photo by KIGURE Shinya