Tomoya Fujii‘s photographs from ‘Yokan’ are beautiful pictures of snowbound landscapes, forest peaks, misty lakes and interiors filled with a diffused light. A silent world of natural beauty in which everything seems ethereal, out of time. A place in which the imagination is given space to go riot.
In all his work Fujii explores the relationship between mystery and reality, his intent not to portray things as they are but rather to create images that extenuate the difference between that which we perceive in reality and the image we see of it. It’s a conceptual way of looking at the world, of understanding that the photographic image is not a mirror of reality but rather a conceit. A visual image that is wholly contained within itself.
This argument has followed the medium of photography ever since it was first invented back in the 1830’s. For over 180 years people have come to see, to believe, that the photograph is a moment of reality captured on film, an image that defines the objective material truth. However all images are a reflection of the artist. What we don’t see is as important as what we do; the light, speed and composition all conjoin to create a reality that is outside our own perception. It belongs solely to the artist. It is up to us to disseminate it.
Fujii gives himself over to intuition in his photographs, to explore the gap between his own perception and the reality that the camera is exposing. He calls it a premonition and he has this to say about his pictures of the landscape:
At first I believed that the camera makes images that reflect reality; the same reality like mine. But the camera projected images that were a non-realistic version of reality. I realized that there is no reality in images