From the series fo “Gathering Light”, Diamond Grid, Tokyo, 2017, inkjet print ©Ken Kitano, courtesy MEM
From the series fo “Gathering Light”, Diamond Grid, Tokyo, 2017, inkjet print ©Ken Kitano, courtesy MEM 

Ken Kitano “gathering light”

25/11/2017 - 24/12/2017

NADiff A/P/A/R/T 3F, 1-18-4 
Ebisu, Shibuya 
1500013 Tokyo   

Photography depends on “light to bind” an image in a single instance. 
The photographer as agent produces work with a clearly defined concept. However, there are times in the pursuit of an image where, when standing beside the strange pool of developing fluid, the image can only be described as having “appeared” despite being something made myself. (I am calling this “the fluctuating edge”.)
For example, I carefully removed the camera installed on a roof for six months, cleared away the debris and recovered the film. When developing several of them, the one that shows a faint trace of light rays from the sun is carefully scanned and adjusted with Photoshop. Then unseen traces of light jump out and float to the surface. Having remained unchanged for 4.6 billion years, the revolution of the Earth and the rotation of the cosmos from Winter solstice to Summer solstice are etched with a myriad of lines.
The main focus and subject cannot be summarized as having a “doing / to do” relationship. But is the only way to describe an image as having “appeared” as an act or condition of the pool of development different from either “taken” (active) or "being taken” (passive)? (Koichiro Kokubun’s “The World of The Middle Voice” writes about the world before the history of language becomes the confrontationally opposed verbs of “active and passive”.)
Finding a way (or approach) to unlock the pool will give a sense of great satisfaction (despite being slightly intimidating.)
And as a result, I want to take that moment home and place the world seen from that point on slightly in the medium of photography.

Ken Kitano, September 2017