굉장히 옛날 사진같은데, 그렇게만 보이지 않는다. 컴상이라 뭐라 말할 처진 아니지만, 기술적 완성도도 요즘 제품들보다 뛰어나 보인다. 생각보다 꽤많은 시점이나 보는 방법이 섞여져 있는듯도 한데, 나름의 방식을 견지한 것같아 신선한 느낌이다. 미시적 방법이라고 단순히 보기엔 굉장히 기묘한 스케일의 어긋남이 느껴진다.
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These images (from the recent Kurita New York exhibit entitled Tranquility/Motion) reveals the photographer's profound reverence for nature, his rare ability to recognize seemingly insignificant natural phenomena not only as beautiful but as important.
A solitary stone sitting on a rock appears positively regal. Pure white windswept sand achieves elegant patterning, and long summer grass sways in the breeze with glorious and enviable abandon. The humblest of weeds entwined in a marsh, a dead and fallen tree trunk, fragile branches covered in frost--all are worthy of contemplation, of admiration. The motion of natural forces has ceased and what emerges in Kurita's images is tranquility, a palpable silence. Kurita's vision is intimate (no sunsets or vast panoramas).
Kurita's career did not begin with nature photography, but rather quite the opposite. Born in Manchuria in 1943 and educated in Japan, Kurita committed himself to photography early in life. First working in the 1960s for an advertising agency in Tokyo, he soon became an independent commercial photographer. Then, in 1983 at age 40, he began to pursue fine art photography.
It was in mid-life that Kurita had a fateful encounter with Thoreau's Walden Pond.. "My encounter with Thoreau's book drastically changed the direction of my life as a photographer. My subjects became natural landscapes instead of models of liquor bottles. My goal became to free myself from the bondage of advertising and publishing assignments and to enjoy the freedom of being a fine arts photographer." He decided to familiarize himself with nature by studying it, memorizing the names and descriptions of plants in a botanical encyclopedia.
In 1990, a grant from the Asian Cultural Council (part of the John D. Rockefeller Fund) allowed him to devote himself completely to artistic interests.
Koichiro Kurita's work has been exhibited in many galleries and museums around the world, including the Yamanashi Prefecture Art Museum in Kofu, Japan; Hosomi Gallery in Tokyo, Japan; the Los Angeles County Museum of Art; the Museum of Fine Arts, Houston; ICP and George Eastman House, New York; the Bibliothéque Nationale, and Maison Européenne de la Photographie in Paris.
All images courtesy John Stevenson Gallery, New York
www.johnstevenson-gallery.com
Curator John Stevenson Gallery, New York
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