Portrait of an Island by Shinichiro Shiraishi ある島の肖像

Art Direction, Book Design

Portrait of an Island by Shinichiro Shiraishi

English translation: Joyce Lam
Printing: iWORD Co.,Ltd
Typeface: MS Gothic
Paper: KihoushiC-FS Deep rough 174.5 kg
U-lite 110.0 g/㎡
Published by Shinichiro Shiraishi
Edition of 300

Special thanks: Juanra Benitez (Taxi driver)


2019年の渡独以降、作者は自身の自然観の源流をたどり、無意識のうちにつくられた風景への触感をあきらかにしようとしてきました。 拠点を置くベルリンや旅先で訪れた土地で匿名性や共通性を持つイメージを収集し、人工物も自然物も同じように自然を形成するモノという考えのもと、 様々な写真的技法を通して風景写真にアプローチしています。本作は 2021年2月に1ヶ月滞在した「ある島」で撮影されたもので、作者が影響を受けてきた地理学者オギュスタン・ベルク氏の風景論の解釈を写真に引用し、 風景という被写体そのものが主体性のある「肖像」になりうることを示しています。 歪んでディティールを失った写像は作者の写真的特徴である匿名性を帯びながらも、きわめて写真的な瞬間性を保つことによって風景の獲得に成功しているのかもしれません。

The windowpane of the taxi I got on is distorted;
the landscape before me jumps into sight with reduced resolution.

One of the photos curves along the distortion,
and another ignores the focal point of the windowpane to form an image.
These images are not famous landscape photographs that represent the details of the island or
its vast nature; they are not anywhere, but somewhere that carries a kind of anonymity.

For me, as a Japanese who has been looking at landscapes with an animistic mindset,
that is, with a perspective of nature as a matter of prayer and thoughts,
the images that were obtained through the device of a
‘distorted car window’ that I saw by chance is a rediscovery
that landscapes are not only objects, but also subjects.
The act of shooting the landscape that runs by while riding in a taxi,
transforms the pursuit of images into a passive, act of ‘hunting by trapping’.
The images that are taken unconsciously diverge from
the interacting path between the landscape and
the photographer (person), and the subjectivity of the landscape emerges, even more.

Landscape photos that are not thought of.
This might be yet another possibility.

Once again, I long for the fact that the answer can be only found in the photographs.

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