PHOTO BOOK
The Fourth Wall / Hiroyuki Takenouchi
PUBLISHED BY T&M Projects, Nov 2017

小さい頃、誰もいない家の玄関から自分の部屋までのたった数歩の距離が怖くて、おもちゃやマンガをところどころに置いていた。それでも家にいるのが怖くて、親が帰ってくる時間まで近所をぐるぐるとひとりで遊んでいた。その辺の草や小さな虫達が、マンガの世界みたいに喋り出したらいいのにと思っていた。
As a small child coming home to an empty house, the long walk from the doorway to my room proved a terrifying prospect, and to abate those fears I would leave toys and comics strewn about the house. Still, being at home was scary, so I would wander around the neighborhood playing until my parents came home from work, thinking how wonderful it would be if the grass and the tiny critters I encountered could speak like they do in my comic books.

家族旅行で写真を撮ると、上手だねと褒められて嬉しかった。写真は、大きなものも小さなものも、手のひらにおさめることができて面白いと思ったし、人見知りの僕でもカメラを持つとなぜか心強く思えた。写真を撮っていると、自分の中の苛立ちや残酷さ、孤独感がだんだん静まってくるのがわかった。そして、「自分」について考えながら写真を撮っていたつもりでも、気がつくと僕は写真を撮っている時だけ、「自分」について考えなくて済むことに気づいた。もしかしたら僕は、他者に対しての「自分」から解放されたくて写真を撮っているのかもしれない。それが本当の自由だとしたら、写真は僕にとって他者と自分の壁を超えるものになると思った。
Being praised for the photos I took while on vacation with my family was a source of happiness for me. What fascinated me about photography was that regardless of whether something was big or small, with a camera you could capture it in the palm of your hand, and shy as I was, something about holding a camera felt reassuring. I realized that when I was taking pictures, all the irritation, cruelty, and loneliness I felt gradually began to subside. Also, even though I may have set out to take pictures while thinking about myself, I came to realize that when I was shooting photos I would stop thinking about myself. You could say that perhaps I take pictures to release myself from the individual I use to present myself to those around me. If that’s what true freedom is, then to me photography is a means to overcome the walls that separate me from others.

行き先を決めずに、とにかくどこかに行って写真を撮ることを繰り返していた。いろんなところを歩いているつもりが、自然と足が土手や川や住宅街など、自分が生まれ育った環境に近い景色に向かうことが多かった。汗だくになりながらカメラを持って歩き回っているうち、季節は一週間で大きく変わることを知ったり、綺麗な景色をファインダーで覗きながら、いつでも答えは目の前にあるんだと気づいた。たまに人間を怖れないカラスや、小さな生き物に出会えることもあった。彼らはきっと自然界では「外れた」存在なのだろうけど、僕も彼らのように、世界から外れたところにいるのかもしれない。そして小さかった頃の僕と少しも変わらぬ視線で彼らを見つめながら、その時は気づかなかった気持ちや、僕と同じように生きづらかった人たちのサインを思い出していた。
I just kept going out to shoot without really deciding on where to go beforehand. I wanted to walk around lots of different places, but my feet would often just naturally carry me to river banks, streams, neighborhoods, basically the kind of environments that were similar to the place where I was born and grew up. I'd be walking around with my camera working up a sweat and realize things like how much a season can change over the course of a week, that the answers I was looking for were right in front of me in the gorgeous views I peeked at through my view finder. Sometimes I'd also run into crows or little critters that weren't afraid of people. I though these kinds of animals are definitely "outside the loop" in terms of their place in nature, but I feel I might be like them in that I'm occupy a space outside the rest of the world. So, looking at them with the kind of gaze that's never left me since I was little, I'd remember feelings that I'd not recognized when they'd occurred to me, a sign that there were other people like me who'd found life hard to live. 

第四の壁…現実世界とフィクションである演劇内の世界を隔てる、想像上の壁のこと。観客はその壁を通して舞台上での世界を観ている。
“The Fourth Wall” is the imaginary invisible wall at the front of the stage in a proscenium theatre, through which the audience sees the action in the world of the play.

ISBN: 978-4-909442-03-1 / PRICE: 5,000JPY+TAX
SIZE: 257mm × 182mm × 14mm / 130 PAGES / HARDCOVER / 525 GRAM
DESIGN CHIKAKO SUZUKI / TRANSRATION B.B.CLARKE
PUBLISHER TOMOKI MATSUMOTO

Amazon / T&M Projects


PHOTO BOOK
Things will get better over time / Hiroyuki Takenouchi
PUBLISHED BY FUJITA, Jan 2017

ISBN: 978-4-9908183-1-9 / PRICE: 3,000JPY+TAX / LIMITED EDITION: 300 COPIES
1 COLOR / SIZE: 180mm × 240mm × 15mm / 168 PAGES / CODEX BINDING / 480 GRAM
DESIGN AND EDIT BY HIROMI FUJITA

Amazon

Crow / Hiroyuki Takenouchi

When I was a small child, I had a field day at my pre-school. The teacher told us to decorate the entrance gate by ourselves, with lots of colorful bird drawings. We needed to come up with ideas for colors. The other kids started suggesting “Red” or “Blue”, and I said “Black”. Immediately, the teacher said “No” to my suggestion. I was very surprised with his answer. In my heart I argued with him about using the color black, but in the end he wouldn’t allow me to use it.

“Black is the color of the crow, and the crow is scary. We should not draw it on our entrance gate.”

I was very angry with his answer because I felt like I, myself, am like the crow and the color black. This truly upset me. The color black always makes me think of the black crayon in the crayon box: always the last one used and, like the crow, most scared of by people for no reason. I don’t remember if I drew the crow on the gate or not, that day.

One day, in 2013, I was in Yoyogi-park, Shibuya, Tokyo. That day, this memory was still distant as was my sympathy with the Crow.

I came upon a crow who was sunbathing with unfolded wings. It was a holiday, so there were many people; even so, he didn’t care much about how crowded it was. He got my attention and I started to photograph him with my camera. The people’s perception of the crow being “Scary” or “Hated” was their own.He looked very happy, obviously not caring about what people thought about him. Taking photos of this crow gave me joy. The Yoyogi-park was close to my house at that time, and I found out that the park was known to be one of the biggest natural habitats for crows, in Tokyo. Once I discovered this, I haunted the park taking photos of them ever since that moment.

According to my research, crows have very good eye sight. They can see not only the full spectrum of light, but also ultraviolet rays. In other words, I felt crows, between each other, recognized themselves as many colors and not just black.

“Black is scary.”, “The crow is an unlucky symbol”. Those perceptions just come from humans. The crow taught me that we should not be so one-sided in our thinking. Therefore, once you have another perspective, the world landscape totally changes. This experience helped me understand that I was not wrong in my childhood. This affirmation proved to me that the things I saw in myself then were not scary at all. I felt like I had found the missing piece of the puzzle.

PROFILE

竹之内 祐幸 写真家

1982年 東京生まれ
2008年 日本大学芸術学部写真学科卒業
2008年 第31回キヤノン写真新世紀佳作受賞
2009年 第2回塩竈フォトフェスティバル特別賞受賞
主な個展
2010年 SEASONS / FOIL GALLERY
2012年 FLOW / DECOdeBONAIR
2015年 CROW / PGI
2017年 Things will get better over time / Gallery Trax, STUDIO STAFF ONLY
2017年 The Fourth Wall / PGI
主なグループ展・アートフェア
2008年 写真新世紀東京展2008 / 東京都写真美術館
2009年 MAKING, MARKING, MAPPING -次世代へのアプローチ VOL.2- / PGI
2010年 BRAND NEW VALENTINE / Z PLATZ
2010年 猫を数える / PGI
2011年 ヨコハマ•フォト•マーケット / ヨコハマ創造都市センター
2015年 代官山フォトフェア / 代官山ヒルサイドテラス
2016年 akta monthly paper Seoul Exhibition / Freckles(梨泰院, ソウル)
2017年 Birds in the Hand / PGI
作品集
2017年 Things will get better over time / FUJITA
2017年 The Fourth Wall / T&M Projects

雑誌、書籍を中心に活動中。主な制作物に、「ピュア・モーニング NHK連続テレビ小説テーマ集」(Sony Music Direct, 2010年)、「人質の朗読会」(小川洋子, 中央公論新社, 2011年)、「こちらあみ子」(今村夏子, 筑摩書房, 2011年)、「聞耳の森」(土屋仁応, 求龍堂, 2012年)、「カフェをつくりたい人の本」(学研パブリッシング, 2013年)、「素朴でおいしい、まいにちマフィン」(宮野真知子, 学研パブリッシング, 2013年)、「使者(ツナグ)中国語版」(辻村深月, 人民文学出版社, 2014年)、「天国と地獄のレシピ」(山田宏巳, 商業界, 2015年)、「TOKYO PAPER VOL.11」(アーツカウンシル東京, 2015年)、「そういう生き物」(春見朔子, 集英社, 2017年)など。主な作品掲載に、「PHOTO GRAPHICA VOL.18」PHOTGRAPHER’S FILE(MdN, 2010年)、「PHOTO GRAPHICA VOL.20」いま期待の若手作家たち(MdN, 2010年)、「IANN VOL.6」(IANN BOOKS/FOIL, 2010年)、「FOIL VOL.3」(FOIL, 2011年)、「談 VOL.92」(たばこ総合研究センター, 2011年)、「IMA VOL.11」STEP OUT!(amana, 2015年)、「IMA ENGLISH EDITION VOL.1」Up-and-Coming Photographers(amana, 2016年)、「DUIRO」(SUNNY BOOKS, 2017年)、「HeartBeat」Takao Nagatani(HIWIND PRO, 2018年)など。

Hiroyuki Takenouchi, Photographer /// Born in Tokyo, Japan,1982.Lives and works in Tokyo.Graduated institute of photography, Nihon University of Art, 2008

Awards /// New cosmos of photography (31st competition) Honorable mention (2008), Shiogama Photo Festival (2nd competition) Special award (2009)

Solo Exhibitions /// SEASONS @FOIL GALLERY, Tokyo (2010), FLOW @DECOdeBONAIR, Tokyo (2012), CROW @PGI, Tokyo (2015), Things will get better over time @Gallery Trax, Yamanashi (2017), The Fourth Wall @PGI, Tokyo (2017)

Group Exhibitions /// New Cosmos of Photography Tokyo Exhibition 2008 @Tokyo Metropolitan Museum of Photography, Tokyo (2008), Making,Marking,Mapping -approaches to the next generation Vol.2- @PGI, Tokyo (2009), Brand New Valentine @z platz, Fukuoka (2010), Photographed cats @PGI, Tokyo (2010), Yokohama Photo Market @Yokohama Creative city Center, Yokohama (2011), daikanyama photo fair @HILLSIDE TERRACE, Tokyo (2015), akta monthly paper Seoul Exhibition @Freckles,Itaewon,Seoul (2016), Birds in the Hand @PGI, Tokyo (2017)

Publications /// Things will get better over time (FUJITA), The Fourth Wall (T&M Projects)