Bundled Light : a sugar pot
Photo by Shinya Kigure, ©Nozomi Suzuki
Main Gallery Area Artist
Bundled Light : a small chest of drawers
Photo by Shinya Kigure, ©Nozomi Suzuki
Mirrors:The round desk mirror from Suzuki residence
Photo by Shinya Kigure, ©Nozomi Suzuki
Other Days, Other Eyes:The east small windows from the second floor of Sekii
Photo by Shinya Kigure, ©Nozomi Suzuki
Artist Information
Nozomi Suzuki
1983 Born in Saitama
2015 Present Ph.D. in Inter-media Art, Tokyo University of the Arts
2016 “Monologue of the Light” rin art association (Gunma,Japan)
2016 “THE VISION OF CONTEMPORARY ART 2016” The Ueno Royal Museum (Tokyo,Japan)
2016 “NEW VISION SAITAMA 5 - The Emerging Body” The Museum of Modern Art (Saitama,Japan)
2017 “Photographs of Innocence and of Experience Contemporary Japanese Photography vol.14” Tokyo Photographic Art Museum (Tokyo,Japan)
2018 “MOT Satellite 2018 FALL - To become a narrative” Shirakawa Nichome Chokai kaikan/Oshima warehouse (Tokyo,Japan)
In my work I aim to capture memories, resembling latent images that are concealed in daily objects and use photographic principles to make them visible. In the same way that light whispers to itself around us, it also overflows with latent images. The landscapes that have been fixed on these objects are images that used to be formed without being noticed, at the places in which they originally existed; they are everyday views, taken from the viewpoint of the objects themselves, that surpass our scrutiny. Faced with the passivity of photography, I feel that if I make minute interventions, taking the kind of tiny phenomena that we usually fail to notice in the everyday world, and capturing hem in objects, then perhaps I will be able to make them visible. Through the act of looking at the referent, the photograph itself exists as a physical object, perhaps suspending the past and halting the subject's time in the present to become something that can be gazed upon.
Selector
Vice Director of Bridgestone Museum of Art, Ishibashi Foundation
[Comment by Selector]
There may be few people who, when looking at Nozomi Suzuki’s work, immediately recognize that they are photographs. In windowpanes fitted with crumbling frames, something is pictured. It is scenery, but it is obscure. The window frame is old; it looks like a scene from the past rather than one from the present day. Using windows of demolished houses and old mirrors as her canvas, Nozomi Suzuki processes the glass with exposure to light, and reproduces the scenery that those windows and mirrors once looked out upon. That scenery is particular to the people who used those winddows and mirrors, but for some reason, the viewer converts each scene to one in their own memory. The photographs, clipping out a piece of reality, create the effect of accumulating time.