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2018 - 2020

2009 - 2017

西村多美子 Tamiko Nishimura 続 (My Journey II. 1968-1989)

スクリーンショット 2020-12-14 0.01.11.png

西村多美子 Tamiko Nishimura 続 (My Journey II. 1968-1989)（Zen Foto Gallery, 2020）

西村多美子 Tamiko Nishimura 続 (My Journey II. 1968-1989)（Zen Foto Gallery, 2020）

西村多美子 Tamiko Nishimura 続 (My Journey II. 1968-1989)（Zen Foto Gallery, 2020）ト 2020-12-14 0.01.42.png

西村多美子 Tamiko Nishimura 続 (My Journey II. 1968-1989)（Zen Foto Gallery, 2020）

西村多美子 Tamiko Nishimura 続 (My Journey II. 1968-1989)（Zen Foto Gallery, 2020）

西村多美子 Tamiko Nishimura 続 (My Journey II. 1968-1989)（Zen Foto Gallery, 2020）

西村多美子 Tamiko Nishimura 続 (My Journey II. 1968-1989)（Zen Foto Gallery, 2020）

倉田精二 Seiji Kurata "EROS LOST"

倉田精二 Seiji Kurata "EROS LOST" （Zen Foto Gallery, 2020）

倉田精二 Seiji Kurata "EROS LOST" （Zen Foto Gallery, 2020）

倉田精二 Seiji Kurata "EROS LOST" （Zen Foto Gallery, 2020）

倉田精二 Seiji Kurata "EROS LOST" （Zen Foto Gallery, 2020）

倉田精二 Seiji Kurata "EROS LOST" （Zen Foto Gallery, 2020）

倉田精二 Seiji Kurata "EROS LOST" （Zen Foto Gallery, 2020）

倉田精二 Seiji Kurata "EROS LOST" （Zen Foto Gallery, 2020）

倉田精二 Seiji Kurata "EROS LOST" （Zen Foto Gallery, 2020）

秦雅則 Hata Masanori "ZOI＆HEO"

秦雅則 Hata Masanori "ZOI＆HEO" （厳奈那堂、Ａ組織 , Dec 2019）

秦雅則 Hata Masanori "ZOI＆HEO" （厳奈那堂、Ａ組織 , Dec 2019）

秦雅則 Hata Masanori "ZOI＆HEO" （厳奈那堂、Ａ組織 , Dec 2019）

秦雅則 Hata Masanori "ZOI＆HEO" （厳奈那堂、Ａ組織 , Dec 2019）

秦雅則 Hata Masanori "ZOI＆HEO" （厳奈那堂、Ａ組織 , Dec 2019）

秦雅則 Hata Masanori "ZOI＆HEO" （厳奈那堂、Ａ組織 , Dec 2019）

秦雅則 Hata Masanori "ZOI＆HEO" （厳奈那堂、Ａ組織 , Dec 2019）

秦雅則 Hata Masanori "ZOI＆HEO" （厳奈那堂、Ａ組織 , Dec 2019）

秦雅則 Hata Masanori "ZOI＆HEO" （厳奈那堂、Ａ組織 , Dec 2019）

秦雅則 Hata Masanori "ZOI＆HEO" （厳奈那堂、Ａ組織 , Dec 2019）

秦雅則 Hata Masanori "ZOI＆HEO" （厳奈那堂、Ａ組織 , Dec 2019）

秦雅則 Hata Masanori "ZOI＆HEO" （厳奈那堂、Ａ組織 , Dec 2019）

Muge "ASH" Special Edition

ASH Special Edition (B)

ASH Special Edition (C)

Muge "Ash"
Special edition with a Platinum Print hand-made by the artist. Limited to 30 sets with 3 images, 10 sets for each. All sets are numbered and signed by the artist attached with a certificate.

Muge "Ash"
Special edition with a Platinum Print hand-made by the artist. Limited to 30 sets with 3 images, 10 sets for each. All sets are numbered and signed by the artist attached with a certificate.

Muge "Ash"
Special edition with a Platinum Print hand-made by the artist. Limited to 30 sets with 3 images, 10 sets for each. All sets are numbered and signed by the artist attached with a certificate.

Muge "Ash"
Special edition with a Platinum Print hand-made by the artist. Limited to 30 sets with 3 images, 10 sets for each. All sets are numbered and signed by the artist attached with a certificate.

Muge "Ash"
Special edition with a Platinum Print hand-made by the artist. Limited to 30 sets with 3 images, 10 sets for each. All sets are numbered and signed by the artist attached with a certificate.

Muge "Ash"
Special edition with a Platinum Print hand-made by the artist. Limited to 30 sets with 3 images, 10 sets for each. All sets are numbered and signed by the artist attached with a certificate.

Muge "Ash"
Special edition with a Platinum Print hand-made by the artist. Limited to 30 sets with 3 images, 10 sets for each. All sets are numbered and signed by the artist attached with a certificate.

Muge "Ash"
Special edition with a Platinum Print hand-made by the artist. Limited to 30 sets with 3 images, 10 sets for each. All sets are numbered and signed by the artist attached with a certificate.

Muge "Ash"
Special edition with a Platinum Print hand-made by the artist. Limited to 30 sets with 3 images, 10 sets for each. All sets are numbered and signed by the artist attached with a certificate.

木格『塵』 Muge "Ash"

"earth to earth
ashes to ashes
dust to dust"

「生命輪迴，從哪裡來就會回到哪裡去，靈歸賜靈的神」。

《塵》收錄木格 2010 年至近年的同系列新作。全書涵蓋「靜物 Still Life」、「山水 Shan Shui」和「風物 Scenery」三部分作品，呈現該系列中所探討的日常與自然空間中的萬物光景、陰翳之間的瞬息萬變，在時間的流裡亦靜亦動，隨之風化、腐朽抑或老去、生長。階梯式的裝幀，將具意象的一株松樹以樹幹為芯貫穿全書。隨時間的推移，影像因堆疊而生成。印刷工藝方面則採用黑、灰雙色調，並以光油、霧油和特色光油細膩呈現木格鏡下的各種物象。

「當我用大畫幅相機重新去認識現在的家鄉，發現現實世界裡一切都歸於我們內心慾望：總是嚮往自然，破壞自然，然後又修復自然因果輪迴（...）這些影像是我個人生活的時間帶來的認識，還有自然在時間和歷史下的痕跡，以及現實世界對人類自我走向的思考。」— 木格

Based on Lao Tze’s “Theory of Nature,” Muge’s series approaches objects, sceneries and places from the perspective not of an intruder or observer but as an insider, as someone who belongs, giving his subjects the necessary space to weather, grow, decay, and simply exist. Divided into three parts (“Still Life,” Shan Shui,” and “Scenery”), Muge’s images draw on symbolism and metaphor to create larger connections between the pages of the book. The three parts of the book are stacked on top of each other, forming a staircase-like design, with each photo printed in black and gray and finished with glossy varnish, matte varnish or special color varnish, depending on the delicate state of each object.

『塵』がここで示しているのは灰燼。「生命の輪廻では、全ては元来た場所へ回帰し、魂は魂をくださった神へと戻る。」

『塵』新版には、木格による 2010 年から近年までの同シリーズの新作が含まれています。「静物」、「山水」、「風物」の三つの部分の作品群によって構成された本書は、日常と自然の空間における万物の光景、その束の間の多様な変化を示しています。静的、または動的な時間の流れの中で、万物は風化し、朽ちる、または老化し、生長します。象徴的な意味を持つ松の樹幹が本の軸心となり、階段式の特殊造本に仕上げられた写真集を横に貫きます。時間の移り変わりとともに、写真が積み重なることによって生成されます。印刷プロセスでは、スミ、グレーのダブルトーンにグロスニス、特色ニスとマットニスを使い分けることで、木格の作品における様々な物象を繊細に表現しています。

「大型カメラを使って現在の故郷についての考察をあらためてした時、現実世界の全ては我々の心の中の欲望から来たことに気がついた。自然に憧れながら、自然を壊し、また自然を修復する。因果の輪廻である。（中略）これらの作品は、私個人の生活の時間から感じた認識である。または、自然における時間と歴史の痕跡、現実世界に対する今後への思考について表している。」ー木格

"earth to earth
ashes to ashes
dust to dust"

「生命輪迴，從哪裡來就會回到哪裡去，靈歸賜靈的神」。

《塵》收錄木格 2010 年至近年的同系列新作。全書涵蓋「靜物 Still Life」、「山水 Shan Shui」和「風物 Scenery」三部分作品，呈現該系列中所探討的日常與自然空間中的萬物光景、陰翳之間的瞬息萬變，在時間的流裡亦靜亦動，隨之風化、腐朽抑或老去、生長。階梯式的裝幀，將具意象的一株松樹以樹幹為芯貫穿全書。隨時間的推移，影像因堆疊而生成。印刷工藝方面則採用黑、灰雙色調，並以光油、霧油和特色光油細膩呈現木格鏡下的各種物象。

「當我用大畫幅相機重新去認識現在的家鄉，發現現實世界裡一切都歸於我們內心慾望：總是嚮往自然，破壞自然，然後又修復自然因果輪迴（...）這些影像是我個人生活的時間帶來的認識，還有自然在時間和歷史下的痕跡，以及現實世界對人類自我走向的思考。」— 木格

Based on Lao Tze’s “Theory of Nature,” Muge’s series approaches objects, sceneries and places from the perspective not of an intruder or observer but as an insider, as someone who belongs, giving his subjects the necessary space to weather, grow, decay, and simply exist. Divided into three parts (“Still Life,” Shan Shui,” and “Scenery”), Muge’s images draw on symbolism and metaphor to create larger connections between the pages of the book. The three parts of the book are stacked on top of each other, forming a staircase-like design, with each photo printed in black and gray and finished with glossy varnish, matte varnish or special color varnish, depending on the delicate state of each object.

"earth to earth
ashes to ashes
dust to dust"

「生命輪迴，從哪裡來就會回到哪裡去，靈歸賜靈的神」。

《塵》收錄木格 2010 年至近年的同系列新作。全書涵蓋「靜物 Still Life」、「山水 Shan Shui」和「風物 Scenery」三部分作品，呈現該系列中所探討的日常與自然空間中的萬物光景、陰翳之間的瞬息萬變，在時間的流裡亦靜亦動，隨之風化、腐朽抑或老去、生長。階梯式的裝幀，將具意象的一株松樹以樹幹為芯貫穿全書。隨時間的推移，影像因堆疊而生成。印刷工藝方面則採用黑、灰雙色調，並以光油、霧油和特色光油細膩呈現木格鏡下的各種物象。

「當我用大畫幅相機重新去認識現在的家鄉，發現現實世界裡一切都歸於我們內心慾望：總是嚮往自然，破壞自然，然後又修復自然因果輪迴（...）這些影像是我個人生活的時間帶來的認識，還有自然在時間和歷史下的痕跡，以及現實世界對人類自我走向的思考。」— 木格

Based on Lao Tze’s “Theory of Nature,” Muge’s series approaches objects, sceneries and places from the perspective not of an intruder or observer but as an insider, as someone who belongs, giving his subjects the necessary space to weather, grow, decay, and simply exist. Divided into three parts (“Still Life,” Shan Shui,” and “Scenery”), Muge’s images draw on symbolism and metaphor to create larger connections between the pages of the book. The three parts of the book are stacked on top of each other, forming a staircase-like design, with each photo printed in black and gray and finished with glossy varnish, matte varnish or special color varnish, depending on the delicate state of each object.

"earth to earth
ashes to ashes
dust to dust"

「生命輪迴，從哪裡來就會回到哪裡去，靈歸賜靈的神」。

《塵》收錄木格 2010 年至近年的同系列新作。全書涵蓋「靜物 Still Life」、「山水 Shan Shui」和「風物 Scenery」三部分作品，呈現該系列中所探討的日常與自然空間中的萬物光景、陰翳之間的瞬息萬變，在時間的流裡亦靜亦動，隨之風化、腐朽抑或老去、生長。階梯式的裝幀，將具意象的一株松樹以樹幹為芯貫穿全書。隨時間的推移，影像因堆疊而生成。印刷工藝方面則採用黑、灰雙色調，並以光油、霧油和特色光油細膩呈現木格鏡下的各種物象。

「當我用大畫幅相機重新去認識現在的家鄉，發現現實世界裡一切都歸於我們內心慾望：總是嚮往自然，破壞自然，然後又修復自然因果輪迴（...）這些影像是我個人生活的時間帶來的認識，還有自然在時間和歷史下的痕跡，以及現實世界對人類自我走向的思考。」— 木格

Based on Lao Tze’s “Theory of Nature,” Muge’s series approaches objects, sceneries and places from the perspective not of an intruder or observer but as an insider, as someone who belongs, giving his subjects the necessary space to weather, grow, decay, and simply exist. Divided into three parts (“Still Life,” Shan Shui,” and “Scenery”), Muge’s images draw on symbolism and metaphor to create larger connections between the pages of the book. The three parts of the book are stacked on top of each other, forming a staircase-like design, with each photo printed in black and gray and finished with glossy varnish, matte varnish or special color varnish, depending on the delicate state of each object.

"earth to earth
ashes to ashes
dust to dust"

「生命輪迴，從哪裡來就會回到哪裡去，靈歸賜靈的神」。

《塵》收錄木格 2010 年至近年的同系列新作。全書涵蓋「靜物 Still Life」、「山水 Shan Shui」和「風物 Scenery」三部分作品，呈現該系列中所探討的日常與自然空間中的萬物光景、陰翳之間的瞬息萬變，在時間的流裡亦靜亦動，隨之風化、腐朽抑或老去、生長。階梯式的裝幀，將具意象的一株松樹以樹幹為芯貫穿全書。隨時間的推移，影像因堆疊而生成。印刷工藝方面則採用黑、灰雙色調，並以光油、霧油和特色光油細膩呈現木格鏡下的各種物象。

「當我用大畫幅相機重新去認識現在的家鄉，發現現實世界裡一切都歸於我們內心慾望：總是嚮往自然，破壞自然，然後又修復自然因果輪迴（...）這些影像是我個人生活的時間帶來的認識，還有自然在時間和歷史下的痕跡，以及現實世界對人類自我走向的思考。」— 木格

Based on Lao Tze’s “Theory of Nature,” Muge’s series approaches objects, sceneries and places from the perspective not of an intruder or observer but as an insider, as someone who belongs, giving his subjects the necessary space to weather, grow, decay, and simply exist. Divided into three parts (“Still Life,” Shan Shui,” and “Scenery”), Muge’s images draw on symbolism and metaphor to create larger connections between the pages of the book. The three parts of the book are stacked on top of each other, forming a staircase-like design, with each photo printed in black and gray and finished with glossy varnish, matte varnish or special color varnish, depending on the delicate state of each object.

"earth to earth
ashes to ashes
dust to dust"

「生命輪迴，從哪裡來就會回到哪裡去，靈歸賜靈的神」。

《塵》收錄木格 2010 年至近年的同系列新作。全書涵蓋「靜物 Still Life」、「山水 Shan Shui」和「風物 Scenery」三部分作品，呈現該系列中所探討的日常與自然空間中的萬物光景、陰翳之間的瞬息萬變，在時間的流裡亦靜亦動，隨之風化、腐朽抑或老去、生長。階梯式的裝幀，將具意象的一株松樹以樹幹為芯貫穿全書。隨時間的推移，影像因堆疊而生成。印刷工藝方面則採用黑、灰雙色調，並以光油、霧油和特色光油細膩呈現木格鏡下的各種物象。

「當我用大畫幅相機重新去認識現在的家鄉，發現現實世界裡一切都歸於我們內心慾望：總是嚮往自然，破壞自然，然後又修復自然因果輪迴（...）這些影像是我個人生活的時間帶來的認識，還有自然在時間和歷史下的痕跡，以及現實世界對人類自我走向的思考。」— 木格

Based on Lao Tze’s “Theory of Nature,” Muge’s series approaches objects, sceneries and places from the perspective not of an intruder or observer but as an insider, as someone who belongs, giving his subjects the necessary space to weather, grow, decay, and simply exist. Divided into three parts (“Still Life,” Shan Shui,” and “Scenery”), Muge’s images draw on symbolism and metaphor to create larger connections between the pages of the book. The three parts of the book are stacked on top of each other, forming a staircase-like design, with each photo printed in black and gray and finished with glossy varnish, matte varnish or special color varnish, depending on the delicate state of each object.

"earth to earth
ashes to ashes
dust to dust"

「生命輪迴，從哪裡來就會回到哪裡去，靈歸賜靈的神」。

《塵》收錄木格 2010 年至近年的同系列新作。全書涵蓋「靜物 Still Life」、「山水 Shan Shui」和「風物 Scenery」三部分作品，呈現該系列中所探討的日常與自然空間中的萬物光景、陰翳之間的瞬息萬變，在時間的流裡亦靜亦動，隨之風化、腐朽抑或老去、生長。階梯式的裝幀，將具意象的一株松樹以樹幹為芯貫穿全書。隨時間的推移，影像因堆疊而生成。印刷工藝方面則採用黑、灰雙色調，並以光油、霧油和特色光油細膩呈現木格鏡下的各種物象。

「當我用大畫幅相機重新去認識現在的家鄉，發現現實世界裡一切都歸於我們內心慾望：總是嚮往自然，破壞自然，然後又修復自然因果輪迴（...）這些影像是我個人生活的時間帶來的認識，還有自然在時間和歷史下的痕跡，以及現實世界對人類自我走向的思考。」— 木格

Based on Lao Tze’s “Theory of Nature,” Muge’s series approaches objects, sceneries and places from the perspective not of an intruder or observer but as an insider, as someone who belongs, giving his subjects the necessary space to weather, grow, decay, and simply exist. Divided into three parts (“Still Life,” Shan Shui,” and “Scenery”), Muge’s images draw on symbolism and metaphor to create larger connections between the pages of the book. The three parts of the book are stacked on top of each other, forming a staircase-like design, with each photo printed in black and gray and finished with glossy varnish, matte varnish or special color varnish, depending on the delicate state of each object.

"earth to earth
ashes to ashes
dust to dust"

「生命輪迴，從哪裡來就會回到哪裡去，靈歸賜靈的神」。

《塵》收錄木格 2010 年至近年的同系列新作。全書涵蓋「靜物 Still Life」、「山水 Shan Shui」和「風物 Scenery」三部分作品，呈現該系列中所探討的日常與自然空間中的萬物光景、陰翳之間的瞬息萬變，在時間的流裡亦靜亦動，隨之風化、腐朽抑或老去、生長。階梯式的裝幀，將具意象的一株松樹以樹幹為芯貫穿全書。隨時間的推移，影像因堆疊而生成。印刷工藝方面則採用黑、灰雙色調，並以光油、霧油和特色光油細膩呈現木格鏡下的各種物象。

「當我用大畫幅相機重新去認識現在的家鄉，發現現實世界裡一切都歸於我們內心慾望：總是嚮往自然，破壞自然，然後又修復自然因果輪迴（...）這些影像是我個人生活的時間帶來的認識，還有自然在時間和歷史下的痕跡，以及現實世界對人類自我走向的思考。」— 木格

Based on Lao Tze’s “Theory of Nature,” Muge’s series approaches objects, sceneries and places from the perspective not of an intruder or observer but as an insider, as someone who belongs, giving his subjects the necessary space to weather, grow, decay, and simply exist. Divided into three parts (“Still Life,” Shan Shui,” and “Scenery”), Muge’s images draw on symbolism and metaphor to create larger connections between the pages of the book. The three parts of the book are stacked on top of each other, forming a staircase-like design, with each photo printed in black and gray and finished with glossy varnish, matte varnish or special color varnish, depending on the delicate state of each object.

"earth to earth
ashes to ashes
dust to dust"

「生命輪迴，從哪裡來就會回到哪裡去，靈歸賜靈的神」。

《塵》收錄木格 2010 年至近年的同系列新作。全書涵蓋「靜物 Still Life」、「山水 Shan Shui」和「風物 Scenery」三部分作品，呈現該系列中所探討的日常與自然空間中的萬物光景、陰翳之間的瞬息萬變，在時間的流裡亦靜亦動，隨之風化、腐朽抑或老去、生長。階梯式的裝幀，將具意象的一株松樹以樹幹為芯貫穿全書。隨時間的推移，影像因堆疊而生成。印刷工藝方面則採用黑、灰雙色調，並以光油、霧油和特色光油細膩呈現木格鏡下的各種物象。

「當我用大畫幅相機重新去認識現在的家鄉，發現現實世界裡一切都歸於我們內心慾望：總是嚮往自然，破壞自然，然後又修復自然因果輪迴（...）這些影像是我個人生活的時間帶來的認識，還有自然在時間和歷史下的痕跡，以及現實世界對人類自我走向的思考。」— 木格

Based on Lao Tze’s “Theory of Nature,” Muge’s series approaches objects, sceneries and places from the perspective not of an intruder or observer but as an insider, as someone who belongs, giving his subjects the necessary space to weather, grow, decay, and simply exist. Divided into three parts (“Still Life,” Shan Shui,” and “Scenery”), Muge’s images draw on symbolism and metaphor to create larger connections between the pages of the book. The three parts of the book are stacked on top of each other, forming a staircase-like design, with each photo printed in black and gray and finished with glossy varnish, matte varnish or special color varnish, depending on the delicate state of each object.

"earth to earth
ashes to ashes
dust to dust"

「生命輪迴，從哪裡來就會回到哪裡去，靈歸賜靈的神」。

《塵》收錄木格 2010 年至近年的同系列新作。全書涵蓋「靜物 Still Life」、「山水 Shan Shui」和「風物 Scenery」三部分作品，呈現該系列中所探討的日常與自然空間中的萬物光景、陰翳之間的瞬息萬變，在時間的流裡亦靜亦動，隨之風化、腐朽抑或老去、生長。階梯式的裝幀，將具意象的一株松樹以樹幹為芯貫穿全書。隨時間的推移，影像因堆疊而生成。印刷工藝方面則採用黑、灰雙色調，並以光油、霧油和特色光油細膩呈現木格鏡下的各種物象。

「當我用大畫幅相機重新去認識現在的家鄉，發現現實世界裡一切都歸於我們內心慾望：總是嚮往自然，破壞自然，然後又修復自然因果輪迴（...）這些影像是我個人生活的時間帶來的認識，還有自然在時間和歷史下的痕跡，以及現實世界對人類自我走向的思考。」— 木格

Based on Lao Tze’s “Theory of Nature,” Muge’s series approaches objects, sceneries and places from the perspective not of an intruder or observer but as an insider, as someone who belongs, giving his subjects the necessary space to weather, grow, decay, and simply exist. Divided into three parts (“Still Life,” Shan Shui,” and “Scenery”), Muge’s images draw on symbolism and metaphor to create larger connections between the pages of the book. The three parts of the book are stacked on top of each other, forming a staircase-like design, with each photo printed in black and gray and finished with glossy varnish, matte varnish or special color varnish, depending on the delicate state of each object.

"earth to earth
ashes to ashes
dust to dust"

「生命輪迴，從哪裡來就會回到哪裡去，靈歸賜靈的神」。

《塵》收錄木格 2010 年至近年的同系列新作。全書涵蓋「靜物 Still Life」、「山水 Shan Shui」和「風物 Scenery」三部分作品，呈現該系列中所探討的日常與自然空間中的萬物光景、陰翳之間的瞬息萬變，在時間的流裡亦靜亦動，隨之風化、腐朽抑或老去、生長。階梯式的裝幀，將具意象的一株松樹以樹幹為芯貫穿全書。隨時間的推移，影像因堆疊而生成。印刷工藝方面則採用黑、灰雙色調，並以光油、霧油和特色光油細膩呈現木格鏡下的各種物象。

「當我用大畫幅相機重新去認識現在的家鄉，發現現實世界裡一切都歸於我們內心慾望：總是嚮往自然，破壞自然，然後又修復自然因果輪迴（...）這些影像是我個人生活的時間帶來的認識，還有自然在時間和歷史下的痕跡，以及現實世界對人類自我走向的思考。」— 木格

Based on Lao Tze’s “Theory of Nature,” Muge’s series approaches objects, sceneries and places from the perspective not of an intruder or observer but as an insider, as someone who belongs, giving his subjects the necessary space to weather, grow, decay, and simply exist. Divided into three parts (“Still Life,” Shan Shui,” and “Scenery”), Muge’s images draw on symbolism and metaphor to create larger connections between the pages of the book. The three parts of the book are stacked on top of each other, forming a staircase-like design, with each photo printed in black and gray and finished with glossy varnish, matte varnish or special color varnish, depending on the delicate state of each object.

"earth to earth
ashes to ashes
dust to dust"

「生命輪迴，從哪裡來就會回到哪裡去，靈歸賜靈的神」。

《塵》收錄木格 2010 年至近年的同系列新作。全書涵蓋「靜物 Still Life」、「山水 Shan Shui」和「風物 Scenery」三部分作品，呈現該系列中所探討的日常與自然空間中的萬物光景、陰翳之間的瞬息萬變，在時間的流裡亦靜亦動，隨之風化、腐朽抑或老去、生長。階梯式的裝幀，將具意象的一株松樹以樹幹為芯貫穿全書。隨時間的推移，影像因堆疊而生成。印刷工藝方面則採用黑、灰雙色調，並以光油、霧油和特色光油細膩呈現木格鏡下的各種物象。

「當我用大畫幅相機重新去認識現在的家鄉，發現現實世界裡一切都歸於我們內心慾望：總是嚮往自然，破壞自然，然後又修復自然因果輪迴（...）這些影像是我個人生活的時間帶來的認識，還有自然在時間和歷史下的痕跡，以及現實世界對人類自我走向的思考。」— 木格

Based on Lao Tze’s “Theory of Nature,” Muge’s series approaches objects, sceneries and places from the perspective not of an intruder or observer but as an insider, as someone who belongs, giving his subjects the necessary space to weather, grow, decay, and simply exist. Divided into three parts (“Still Life,” Shan Shui,” and “Scenery”), Muge’s images draw on symbolism and metaphor to create larger connections between the pages of the book. The three parts of the book are stacked on top of each other, forming a staircase-like design, with each photo printed in black and gray and finished with glossy varnish, matte varnish or special color varnish, depending on the delicate state of each object.

"earth to earth
ashes to ashes
dust to dust"

「生命輪迴，從哪裡來就會回到哪裡去，靈歸賜靈的神」。

《塵》收錄木格 2010 年至近年的同系列新作。全書涵蓋「靜物 Still Life」、「山水 Shan Shui」和「風物 Scenery」三部分作品，呈現該系列中所探討的日常與自然空間中的萬物光景、陰翳之間的瞬息萬變，在時間的流裡亦靜亦動，隨之風化、腐朽抑或老去、生長。階梯式的裝幀，將具意象的一株松樹以樹幹為芯貫穿全書。隨時間的推移，影像因堆疊而生成。印刷工藝方面則採用黑、灰雙色調，並以光油、霧油和特色光油細膩呈現木格鏡下的各種物象。

「當我用大畫幅相機重新去認識現在的家鄉，發現現實世界裡一切都歸於我們內心慾望：總是嚮往自然，破壞自然，然後又修復自然因果輪迴（...）這些影像是我個人生活的時間帶來的認識，還有自然在時間和歷史下的痕跡，以及現實世界對人類自我走向的思考。」— 木格

Based on Lao Tze’s “Theory of Nature,” Muge’s series approaches objects, sceneries and places from the perspective not of an intruder or observer but as an insider, as someone who belongs, giving his subjects the necessary space to weather, grow, decay, and simply exist. Divided into three parts (“Still Life,” Shan Shui,” and “Scenery”), Muge’s images draw on symbolism and metaphor to create larger connections between the pages of the book. The three parts of the book are stacked on top of each other, forming a staircase-like design, with each photo printed in black and gray and finished with glossy varnish, matte varnish or special color varnish, depending on the delicate state of each object.

"earth to earth
ashes to ashes
dust to dust"

「生命輪迴，從哪裡來就會回到哪裡去，靈歸賜靈的神」。

《塵》收錄木格 2010 年至近年的同系列新作。全書涵蓋「靜物 Still Life」、「山水 Shan Shui」和「風物 Scenery」三部分作品，呈現該系列中所探討的日常與自然空間中的萬物光景、陰翳之間的瞬息萬變，在時間的流裡亦靜亦動，隨之風化、腐朽抑或老去、生長。階梯式的裝幀，將具意象的一株松樹以樹幹為芯貫穿全書。隨時間的推移，影像因堆疊而生成。印刷工藝方面則採用黑、灰雙色調，並以光油、霧油和特色光油細膩呈現木格鏡下的各種物象。

「當我用大畫幅相機重新去認識現在的家鄉，發現現實世界裡一切都歸於我們內心慾望：總是嚮往自然，破壞自然，然後又修復自然因果輪迴（...）這些影像是我個人生活的時間帶來的認識，還有自然在時間和歷史下的痕跡，以及現實世界對人類自我走向的思考。」— 木格

Based on Lao Tze’s “Theory of Nature,” Muge’s series approaches objects, sceneries and places from the perspective not of an intruder or observer but as an insider, as someone who belongs, giving his subjects the necessary space to weather, grow, decay, and simply exist. Divided into three parts (“Still Life,” Shan Shui,” and “Scenery”), Muge’s images draw on symbolism and metaphor to create larger connections between the pages of the book. The three parts of the book are stacked on top of each other, forming a staircase-like design, with each photo printed in black and gray and finished with glossy varnish, matte varnish or special color varnish, depending on the delicate state of each object.

"earth to earth
ashes to ashes
dust to dust"

「生命輪迴，從哪裡來就會回到哪裡去，靈歸賜靈的神」。

《塵》收錄木格 2010 年至近年的同系列新作。全書涵蓋「靜物 Still Life」、「山水 Shan Shui」和「風物 Scenery」三部分作品，呈現該系列中所探討的日常與自然空間中的萬物光景、陰翳之間的瞬息萬變，在時間的流裡亦靜亦動，隨之風化、腐朽抑或老去、生長。階梯式的裝幀，將具意象的一株松樹以樹幹為芯貫穿全書。隨時間的推移，影像因堆疊而生成。印刷工藝方面則採用黑、灰雙色調，並以光油、霧油和特色光油細膩呈現木格鏡下的各種物象。

「當我用大畫幅相機重新去認識現在的家鄉，發現現實世界裡一切都歸於我們內心慾望：總是嚮往自然，破壞自然，然後又修復自然因果輪迴（...）這些影像是我個人生活的時間帶來的認識，還有自然在時間和歷史下的痕跡，以及現實世界對人類自我走向的思考。」— 木格

Based on Lao Tze’s “Theory of Nature,” Muge’s series approaches objects, sceneries and places from the perspective not of an intruder or observer but as an insider, as someone who belongs, giving his subjects the necessary space to weather, grow, decay, and simply exist. Divided into three parts (“Still Life,” Shan Shui,” and “Scenery”), Muge’s images draw on symbolism and metaphor to create larger connections between the pages of the book. The three parts of the book are stacked on top of each other, forming a staircase-like design, with each photo printed in black and gray and finished with glossy varnish, matte varnish or special color varnish, depending on the delicate state of each object.

"earth to earth
ashes to ashes
dust to dust"

「生命輪迴，從哪裡來就會回到哪裡去，靈歸賜靈的神」。

《塵》收錄木格 2010 年至近年的同系列新作。全書涵蓋「靜物 Still Life」、「山水 Shan Shui」和「風物 Scenery」三部分作品，呈現該系列中所探討的日常與自然空間中的萬物光景、陰翳之間的瞬息萬變，在時間的流裡亦靜亦動，隨之風化、腐朽抑或老去、生長。階梯式的裝幀，將具意象的一株松樹以樹幹為芯貫穿全書。隨時間的推移，影像因堆疊而生成。印刷工藝方面則採用黑、灰雙色調，並以光油、霧油和特色光油細膩呈現木格鏡下的各種物象。

「當我用大畫幅相機重新去認識現在的家鄉，發現現實世界裡一切都歸於我們內心慾望：總是嚮往自然，破壞自然，然後又修復自然因果輪迴（...）這些影像是我個人生活的時間帶來的認識，還有自然在時間和歷史下的痕跡，以及現實世界對人類自我走向的思考。」— 木格

Based on Lao Tze’s “Theory of Nature,” Muge’s series approaches objects, sceneries and places from the perspective not of an intruder or observer but as an insider, as someone who belongs, giving his subjects the necessary space to weather, grow, decay, and simply exist. Divided into three parts (“Still Life,” Shan Shui,” and “Scenery”), Muge’s images draw on symbolism and metaphor to create larger connections between the pages of the book. The three parts of the book are stacked on top of each other, forming a staircase-like design, with each photo printed in black and gray and finished with glossy varnish, matte varnish or special color varnish, depending on the delicate state of each object.

"earth to earth
ashes to ashes
dust to dust"

「生命輪迴，從哪裡來就會回到哪裡去，靈歸賜靈的神」。

《塵》收錄木格 2010 年至近年的同系列新作。全書涵蓋「靜物 Still Life」、「山水 Shan Shui」和「風物 Scenery」三部分作品，呈現該系列中所探討的日常與自然空間中的萬物光景、陰翳之間的瞬息萬變，在時間的流裡亦靜亦動，隨之風化、腐朽抑或老去、生長。階梯式的裝幀，將具意象的一株松樹以樹幹為芯貫穿全書。隨時間的推移，影像因堆疊而生成。印刷工藝方面則採用黑、灰雙色調，並以光油、霧油和特色光油細膩呈現木格鏡下的各種物象。

「當我用大畫幅相機重新去認識現在的家鄉，發現現實世界裡一切都歸於我們內心慾望：總是嚮往自然，破壞自然，然後又修復自然因果輪迴（...）這些影像是我個人生活的時間帶來的認識，還有自然在時間和歷史下的痕跡，以及現實世界對人類自我走向的思考。」— 木格

Based on Lao Tze’s “Theory of Nature,” Muge’s series approaches objects, sceneries and places from the perspective not of an intruder or observer but as an insider, as someone who belongs, giving his subjects the necessary space to weather, grow, decay, and simply exist. Divided into three parts (“Still Life,” Shan Shui,” and “Scenery”), Muge’s images draw on symbolism and metaphor to create larger connections between the pages of the book. The three parts of the book are stacked on top of each other, forming a staircase-like design, with each photo printed in black and gray and finished with glossy varnish, matte varnish or special color varnish, depending on the delicate state of each object.

"earth to earth
ashes to ashes
dust to dust"

「生命輪迴，從哪裡來就會回到哪裡去，靈歸賜靈的神」。

《塵》收錄木格 2010 年至近年的同系列新作。全書涵蓋「靜物 Still Life」、「山水 Shan Shui」和「風物 Scenery」三部分作品，呈現該系列中所探討的日常與自然空間中的萬物光景、陰翳之間的瞬息萬變，在時間的流裡亦靜亦動，隨之風化、腐朽抑或老去、生長。階梯式的裝幀，將具意象的一株松樹以樹幹為芯貫穿全書。隨時間的推移，影像因堆疊而生成。印刷工藝方面則採用黑、灰雙色調，並以光油、霧油和特色光油細膩呈現木格鏡下的各種物象。

「當我用大畫幅相機重新去認識現在的家鄉，發現現實世界裡一切都歸於我們內心慾望：總是嚮往自然，破壞自然，然後又修復自然因果輪迴（...）這些影像是我個人生活的時間帶來的認識，還有自然在時間和歷史下的痕跡，以及現實世界對人類自我走向的思考。」— 木格

Based on Lao Tze’s “Theory of Nature,” Muge’s series approaches objects, sceneries and places from the perspective not of an intruder or observer but as an insider, as someone who belongs, giving his subjects the necessary space to weather, grow, decay, and simply exist. Divided into three parts (“Still Life,” Shan Shui,” and “Scenery”), Muge’s images draw on symbolism and metaphor to create larger connections between the pages of the book. The three parts of the book are stacked on top of each other, forming a staircase-like design, with each photo printed in black and gray and finished with glossy varnish, matte varnish or special color varnish, depending on the delicate state of each object.

"earth to earth
ashes to ashes
dust to dust"

「生命輪迴，從哪裡來就會回到哪裡去，靈歸賜靈的神」。

《塵》收錄木格 2010 年至近年的同系列新作。全書涵蓋「靜物 Still Life」、「山水 Shan Shui」和「風物 Scenery」三部分作品，呈現該系列中所探討的日常與自然空間中的萬物光景、陰翳之間的瞬息萬變，在時間的流裡亦靜亦動，隨之風化、腐朽抑或老去、生長。階梯式的裝幀，將具意象的一株松樹以樹幹為芯貫穿全書。隨時間的推移，影像因堆疊而生成。印刷工藝方面則採用黑、灰雙色調，並以光油、霧油和特色光油細膩呈現木格鏡下的各種物象。

「當我用大畫幅相機重新去認識現在的家鄉，發現現實世界裡一切都歸於我們內心慾望：總是嚮往自然，破壞自然，然後又修復自然因果輪迴（...）這些影像是我個人生活的時間帶來的認識，還有自然在時間和歷史下的痕跡，以及現實世界對人類自我走向的思考。」— 木格

Based on Lao Tze’s “Theory of Nature,” Muge’s series approaches objects, sceneries and places from the perspective not of an intruder or observer but as an insider, as someone who belongs, giving his subjects the necessary space to weather, grow, decay, and simply exist. Divided into three parts (“Still Life,” Shan Shui,” and “Scenery”), Muge’s images draw on symbolism and metaphor to create larger connections between the pages of the book. The three parts of the book are stacked on top of each other, forming a staircase-like design, with each photo printed in black and gray and finished with glossy varnish, matte varnish or special color varnish, depending on the delicate state of each object.

"earth to earth
ashes to ashes
dust to dust"

「生命輪迴，從哪裡來就會回到哪裡去，靈歸賜靈的神」。

《塵》收錄木格 2010 年至近年的同系列新作。全書涵蓋「靜物 Still Life」、「山水 Shan Shui」和「風物 Scenery」三部分作品，呈現該系列中所探討的日常與自然空間中的萬物光景、陰翳之間的瞬息萬變，在時間的流裡亦靜亦動，隨之風化、腐朽抑或老去、生長。階梯式的裝幀，將具意象的一株松樹以樹幹為芯貫穿全書。隨時間的推移，影像因堆疊而生成。印刷工藝方面則採用黑、灰雙色調，並以光油、霧油和特色光油細膩呈現木格鏡下的各種物象。

「當我用大畫幅相機重新去認識現在的家鄉，發現現實世界裡一切都歸於我們內心慾望：總是嚮往自然，破壞自然，然後又修復自然因果輪迴（...）這些影像是我個人生活的時間帶來的認識，還有自然在時間和歷史下的痕跡，以及現實世界對人類自我走向的思考。」— 木格

Based on Lao Tze’s “Theory of Nature,” Muge’s series approaches objects, sceneries and places from the perspective not of an intruder or observer but as an insider, as someone who belongs, giving his subjects the necessary space to weather, grow, decay, and simply exist. Divided into three parts (“Still Life,” Shan Shui,” and “Scenery”), Muge’s images draw on symbolism and metaphor to create larger connections between the pages of the book. The three parts of the book are stacked on top of each other, forming a staircase-like design, with each photo printed in black and gray and finished with glossy varnish, matte varnish or special color varnish, depending on the delicate state of each object.

中藤毅彦 Takehiko Nakafuji "White Noise”

中藤毅彦 Takehiko Nakafuji "White Noise”

中藤毅彦 Takehiko Nakafuji "White Noise”

中藤毅彦 Takehiko Nakafuji "White Noise”

中藤毅彦 Takehiko Nakafuji "White Noise”

中藤毅彦 Takehiko Nakafuji "White Noise”

中藤毅彦 Takehiko Nakafuji "White Noise”

中藤毅彦 Takehiko Nakafuji "White Noise”

中藤毅彦 Takehiko Nakafuji "White Noise”

中藤毅彦 Takehiko Nakafuji "White Noise”

中藤毅彦 Takehiko Nakafuji "White Noise”

中藤毅彦 Takehiko Nakafuji "White Noise”

中藤毅彦 Takehiko Nakafuji "White Noise”

中藤毅彦 Takehiko Nakafuji "White Noise”

中藤毅彦 Takehiko Nakafuji "White Noise”

中藤毅彦 Takehiko Nakafuji "White Noise”

中藤毅彦 Takehiko Nakafuji "White Noise”

中藤毅彦 Takehiko Nakafuji "White Noise”

須田一政『網膜直結指先目カメラ』Issei Suda "The Mechanical Retina on My Fingertips"

須田一政『網膜直結指先目カメラ』Issei Suda "The Mechanical Retina on My Fingertips"

須田一政『網膜直結指先目カメラ』Issei Suda "The Mechanical Retina on My Fingertips"

須田一政『網膜直結指先目カメラ』Issei Suda "The Mechanical Retina on My Fingertips"

須田一政『網膜直結指先目カメラ』Issei Suda "The Mechanical Retina on My Fingertips"

須田一政『網膜直結指先目カメラ』Issei Suda "The Mechanical Retina on My Fingertips"

須田一政『網膜直結指先目カメラ』Issei Suda "The Mechanical Retina on My Fingertips"

須田一政『網膜直結指先目カメラ』Issei Suda "The Mechanical Retina on My Fingertips"

須田一政『網膜直結指先目カメラ』Issei Suda "The Mechanical Retina on My Fingertips"

須田一政『網膜直結指先目カメラ』Issei Suda "The Mechanical Retina on My Fingertips"

須田一政『網膜直結指先目カメラ』Issei Suda "The Mechanical Retina on My Fingertips"

須田一政『網膜直結指先目カメラ』Issei Suda "The Mechanical Retina on My Fingertips"

須田一政『網膜直結指先目カメラ』Issei Suda "The Mechanical Retina on My Fingertips"

須田一政『網膜直結指先目カメラ』Issei Suda "The Mechanical Retina on My Fingertips"

須田一政『網膜直結指先目カメラ』Issei Suda "The Mechanical Retina on My Fingertips"

須田一政『網膜直結指先目カメラ』Issei Suda "The Mechanical Retina on My Fingertips"

須田一政『網膜直結指先目カメラ』Issei Suda "The Mechanical Retina on My Fingertips"

西村多美子『旅人』Tamiko Nishimura “My Journey"

西村多美子『旅人』Tamiko Nishimura “My Journey (Ryojin)"

西村多美子『旅人』Tamiko Nishimura “My Journey (Ryojin)"

西村多美子『旅人』Tamiko Nishimura “My Journey (Ryojin)"

西村多美子『旅人』Tamiko Nishimura “My Journey (Ryojin)"

西村多美子『旅人』Tamiko Nishimura “My Journey (Ryojin)"

西村多美子『旅人』Tamiko Nishimura “My Journey (Ryojin)"

西村多美子『旅人』Tamiko Nishimura “My Journey (Ryojin)"

西村多美子『旅人』Tamiko Nishimura “My Journey (Ryojin)"

西村多美子『旅人』Tamiko Nishimura “My Journey (Ryojin)"

西村多美子『旅人』Tamiko Nishimura “My Journey (Ryojin)"

西村多美子『旅人』Tamiko Nishimura “My Journey (Ryojin)"

西村多美子『旅人』Tamiko Nishimura “My Journey (Ryojin)"

西村多美子『旅人』Tamiko Nishimura “My Journey (Ryojin)"

殿村任香『焦がれ死に』Hideka Tonomura "die of love"

殿村任香『焦がれ死に』Hideka Tonomura "die of love"

殿村任香『焦がれ死に』Hideka Tonomura "die of love"

殿村任香『焦がれ死に』Hideka Tonomura "die of love"

殿村任香『焦がれ死に』Hideka Tonomura "die of love"

殿村任香『焦がれ死に』Hideka Tonomura "die of love"

殿村任香『焦がれ死に』Hideka Tonomura "die of love"

殿村任香『焦がれ死に』Hideka Tonomura "die of love"

殿村任香『焦がれ死に』Hideka Tonomura "die of love"

殿村任香『焦がれ死に』Hideka Tonomura "die of love"

殿村任香『焦がれ死に』Hideka Tonomura "die of love"

殿村任香『焦がれ死に』Hideka Tonomura "die of love"

殿村任香『焦がれ死に』Hideka Tonomura "die of love"

殿村任香『焦がれ死に』Hideka Tonomura "die of love"

Tokyo Rumando "S"

Tokyo Rumando "S"

Tokyo Rumando "S"

Tokyo Rumando "S"

Tokyo Rumando "S"

Tokyo Rumando "S"

Tokyo Rumando "S"

Tokyo Rumando "S"

Tokyo Rumando "S"

Tokyo Rumando "S"

Tokyo Rumando "S"

Tokyo Rumando "S"

Tokyo Rumando "S"

Tokyo Rumando "S"

水島貴大 Mizushima Takahiro "Long Hug Town"

水島貴大 Mizushima Takahiro "Long Hug Town"

水島貴大 Mizushima Takahiro "Long Hug Town"

水島貴大 Mizushima Takahiro "Long Hug Town"

水島貴大 Mizushima Takahiro "Long Hug Town"

水島貴大 Mizushima Takahiro "Long Hug Town"

水島貴大 Mizushima Takahiro "Long Hug Town"

水島貴大 Mizushima Takahiro "Long Hug Town"

水島貴大 Mizushima Takahiro "Long Hug Town"

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