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Review of Mieko Tadokoro's Exhibition "Paris: Two Still Lifes”

The exhibition, held in the hottest September ever, ended successfully October 1.

I would like to thank the many people who came to the exhibition and viewed the original prints with their own eyes.


The works exhibited are selected from two series: "Still Life" and "Show-window". The still life of the fruits and vegetables among them was taken with a modified 8x10 inch camera and the film was contact printed, resulting in the finest pinhole photographic images available.


The handmade can camera I used to photograph the show-window was also displayed in the venue, and by explaining how I finally arrived at this can camera and its advantages, I hope you could see that the pinhole camera, which can be handmade according to the subject, has the flexible appeal of pinhole photography.


Visitors spent a long time in the gallery, carefully viewing the works one by one. When asked for their overall impressions, they said, "It feels good," "It's relaxing," and "I want to watch it all the time". The soft and gentle depiction characteristic of pinhole photography, the trajectory of light passively captured over time, the pan-focus feature which erases the boundary between the inside and outside of the show window and merges them together, creating an image that is a mixture of truth and falsehood … I hope I was able to deliver to the viewers a mysterious healing effect of pinhole photography, which reflects a world different from that of the human eye or a camera with a lens.


I am also pleased to announce that, along with the 52 original prints that will be permanently preserved after the exhibition, five of the can cameras used to take the photographs will be placed in the collection of the Nippon Camera Foundation.



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