NÄITUS // Narihiro Matsimuto / 35-39

/English below/

Narihiro Matsumoto on sündinud Kyotos 1984. aastal. 15-aastaselt hakkas ta tegelema poksiga ning võitis isegi Kogakukani keskkoolidevahelise võistkondliku meistritiitli. 2005. aastal avastas enda jaoks tantsu. Kasutades oma kehalisi võimeid, osales ta erinevates lavastustes nii tantsija kui näitlejana. Fotograafiaga tegeleb Matsumoto alates 2013. aastast. Samas tegutseb ta edasi ka näitlejana, ning teeb lavakujundusi. Tänu sellele, et ta koges oma töös, kuidas lavakujundus loob teatris uue maailma, hakkas Matsumoto looma maastikel lavastuslikke fototeoseid.

"Ma pean vajalikuks, et looming tekiks reaalses tegevuses, sest tahan seda oma silmaga näha ja ise kogeda. Kui hakkan oma peas oleva 2D-kujutise põhjal looma 3D-pilti, tuleb ette palju ebaõnnestumisi ja ootamatuid lahknevusi, aga need äpardused ja kõrvalekalded panevad mind alati naeratama. Kuidas panna objekt hõljuma, kuidas luua varje, kuidas muuta taeva värvi – sellised tehnilised küsimused on alles loomisprotsessi algus. Kui kujutis on valmis, algab suhe "selle asja" – loomisprotsessis oleva töö – ja minu vahel. See ongi minu looming, hetk, kui kõik saab tõeliseks ja lõpuks ma näen seda. Foto on selle konkreetse juhtumi jäädvustus, hetktõmmis ajas," kirjeldab Narihiro Matsumoto oma loomisprotsessi.

"Protsessi käigus ma ei mõtle "aja" mõistele. Kui mulle meenuvad nostalgilised mälestused põhikooliajast, ei taju ma seda kui "midagi, mida ma mäletan" või "mälestust, mis on tagasi tulnud", vaid kui teatud „aega“, mis on kätte jõudnud. Kui ma näen päikeseloojangut, ookeani, mägesid, tuult ja nähtamatut teispoolsust, on "see aeg" käes ja mu mõte käib muudkui ringi ja ringi. Ma nimetan seda vaadet "igavikuks". Jaapani sõna "永遠" vasted teistes keeles pole kunagi päris see, mida selle sõnaga ise silmas pean, kuid praegu kasutan sõna "igavik". Minu kunstitegemise protsess on viis tuua tagasi "olulised ajad" minevikust. Need kallid hetked minevikust on näiteks mu ema suvel piletiväravas seismas; ostukeskuse katus; aeg, mil mind basseinis kukil kanti; maja, kus varem elasin, ja nii edasi," avab Matsumoto näituse "35 - 39" tagamaid.

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I insist on live-action because I want to experience it with my own eyes. When I start to create a 3D image from a 2D image in my brain, there are many failures and unexpected discrepancies. I always smile when I am confronted with these failures and misalignments. How to make an object float, how to create shadows, how to change the color of the sky, such technical things are only the beginning. Once the image is ready, the relationship between "that thing"- my work in progress- and me, begins.

That is my art work, the time everything comes together and finally I can see it. The photograph is a record of this specific instance, a snapshot in time.

During the creative process, I don't think about the concept of "time." When nostalgic memories of my elementary school days come to mind, I perceive it not as "something I remember" or "a memory that has come back," but as the time has arrived. When I see the sunset, the ocean, the mountains, the wind, and the unseen other side, "the time" has come, and my mind goes round and round. I call that view "Eternity." The Japanese word "永遠" is not what I had in mind, so I use "Eternity" for now.

My art making process is a way of bringing back "the important times" from the past. Those cherished moments from the past, such as my mother standing at the ticket gate in the summer, the rooftop of the department store, the time I had a piggyback ride in the pool, the house I used to live in, and so on.

Translation
Lewis Miesen, Shizuka Yoshimura

About the artist:
Born in Kyoto in 1984. Art photographer. Started boxing at the age of 15. Won the Inter-High School team championship at Kogakukan High School. Discovered dance in 2005. Utilizing his physical abilities, he expanded his activities to stage productions as a dancer and actor, appearing in a variety of productions.

Started photography in 2013, working as an actor, stage designer, and stage photographer. Having been exposed to how stage design brings a new world to the theater space, he has been shooting outdoors and creating photographic works that capture the real world in a realistic way.