El Color de La Luz

el Color
de la Luz
Sinfona Visual CCLXXXVIII
1
Manabu
Yamanaka
1 . ARAKAN
2 . GYAHTEI
3 . DOHSI
1 . ARAKAN
One morning, I met a person clad in rags
who walking slowly emitting an offensive odor.
He was staring at the distant place
with vacant eyes out of focus.
I started early in the morning by bicycle
for searching them in busy streets and parks.
When I found them, I asked them by saying
Please let me take your snap shots.
However, they wouldt let me take the pictures so easily.
They hated it and walked away.
I followed them and asked again and again.
I continued to follow them in spite of their spitting
and hitting on me until they tired out with their patience.
They finally allowed me to take some pictures of them.
Their profile was as follows.
Person who allowed me to take pictures alter
I accompanied him for two days.
Person who keeps walking several tens kirometers a days.
Person who has no bedding and clothing with him.
Person who keeps chanting prayers earnestly.
Person who clad Entirely with vinyle wrapper.

Person whose hair was curdled like clay.
Person who is not able to hear or speak.
Person whose face is uglily swollen.
Person who keeps sleeping whole day.
Person who is shuffling along because of malnutrition.
Out of the pictures of hundreds of persons
I have taken during 4 years,
I have chosen 16 persons who have such burilliancy
as if they are holding position between Buddha and human.
I am sure those persons deserve to be called Arakan
who severs the ties of flesh
and is assiduous in practicing austerities.
2 . GYAHTEI
After completing my work Arakan,
I was groping for next title.
In my mind, I was thinking of Buddhist four pains namely
birth, age, disease, and death.
And I had a desire to make photograph
of either age or disease out of them.
However, regarding the title of disease,
even if I take a picture of the figure
or carriage of a sick person,
it will not depict Buddhist disease
but it will show only apparent reality.
Buddhist disease is the pain caused
by inevitable retribution of humanbeing.
I thought such picture will not make any photograph I aimed.
As to the title of age, I felt in the same way.
I thought a figure or life-style of dotard
is far from the title of my next photograph.
One day, while I was talking with one of my friends,
he mentioned about the nude of old people.
This is it! I noticed. For the title of age,
making a copy of old persons body will be good enough.
I thought more than a half of my work was done at that time
as the next step was only to find out proper model.
Since then, I have taken some dozens of pictures

of old persons in the nude.
After selection, I found only some pictures
of old women of about 90 years of age left.
I thought those pictures depict faithfully
The last physical body of human who is just vanishing away
3 . DOHSI
I feel like clinging to something I know will change me,
but I dont knowhow.
I decided Id try by living in an impoverished place
where there was no water supply, no electricity,
and a subsistence unchanged
from that ofthousands of years ago.
Id wake up every morning in house with a dirt floor,
where there was no way to completely escape the elements.
The water I drank was muddy and scarce.
The food I ate was plain.
When I become sick,
there was no medicine or hospitals to look to for help.
People locked in a daily struggle for mere survival
can rarely escape this kind of existence.
Where do they differ from me, I thought.
They have many siblings,
though half of them will not live long.
For this reason, perhaps, they dont live in fear of death,
nor are obsessively attached to life.
They simply live.
I even wonder if they do not regret having been born?
They live in a reality void of material assets

except for their own bodies.
Life is lived fervently in hopes of someday arriving
at that eternal place where there is no suffering.
How do I appear to them?
Who am I?
Who is Yamanaka?
I was moved by the sight of children
covered in mud, dirt and scratches.
They didnt appear
the least bit miserable,
but live robustly.
Their eyes were marvelously pure,
like incarnations of the Zenzaidohshi,
children of ancient times
who had rid themselves of all desire
in pursuit of the Way of the Buddha.
Manabu Yamanaka
Manabu Yamanaka
2
Hiroshi
Sugimoto
Hiroshi Sugimoto
Hiroshi Sugimoto
COLORS OF SHADOW
EL COLOR DE LA SOMBRA
Starting from cracking nuts with rocks like apes,
the use of tools has undoubtedly added to human acumen.
The use of tools as extensions of our hands
has greatly expanded our interaction with nature.
Over such interactions, weve also acquired mental habits.
In making arrows to shoot down birds in flight,
weve had to understand how birds fly,
as well as how to flake and grind stone to make arrowheads.
No sooner had humans grasped the notion
of vertical gravitation and begun to walk upright,
freeing our hands from ground movement,
than we started picking things up as tools,
and so developing our brain.
I myself have done my share of inventing tools
for realizing various art projects.
My studio is more of a workshop,
often they just don't sell the tools I need for the job:
like a simultaneous vertical-horizontal agitator
to prevent uneven film developing for my Seascape negatives,
or an "time- lapse anti-slip device" for shooting my Theaters,
or a "super-wide angle bellows" for my Architecture series...
I've learned many things from using my hands.
While I'm still not sure about the nature of light
whether it's waves or particles

I've learned a thing or two about shadows.
Thinking to devise a way of observing shadows,
the project escalated into a major undertaking,
requiring an entire hilltop penthouse
in an older apartment in Tokyo.
When surfaces receives light,
the light effects varies according to the angle of exposure.
Selecting three distinct angles
90, 55 and 35
I had the walls surfaced
using traditional Japanese shikkui plaster finishing,
which absorbs and reflects light most evenly.
In the morning light,
the shadows play freely over the surfaces,
now appearing, now vanishing.
While on rainy days,
they take on a deeper,
more evocative cast.
I've only just begun my observations,
but already I've discovered
a sublime variety in shadow hues.
3
Asuka
Katagiri
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Kuu 311
Kuu 405
Asuka Katagiri
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Navegar la luz
Experiences at the deepest level of consciousness occur
almost automatically, regardless of a persons degree of selfawareness.
Las Experiencias en el nivel ms profundo de la
conciencia se producen casi de forma automtica,
independientemente del grado de conciencia de s mismo
de una persona.
Such experiences contain all the forgotten memories, hidden

emotions and intentions, which do not usually rise to the
surface.
Tales experiencias contienen todos los recuerdos
olvidados, emociones e intenciones ocultas, que no
suelen subir a la superficie.
In photography, similarly, images are automatically
formed, they are captured by light through invariable laws,
and become visible as a world quite different from the world
we are familiar with.
En la fotografa, similarmente, las imgenes se forman
automticamente, son capturadas por la luz a travs de
leyes invariables, y se hacen visibles como un mundo
completamente diferente del mundo que nos es familiar.
Some things can be made visible by capturing them whole,
rather than by disassembling them into constituent parts.
Algunas cosas pueden hacerse visibles por capturndolas
en conjunto, en lugar de desmontarlas en sus partes
constituyentes.
Looking at light that reaches us from outer space, I ponder
its significance, and the space and time through which it has
travelled
En cuanto a la luz que nos llega desde el espacio
exterior, reflexiono sobre su significado, y el tiempo y el
espacio a travs del cual ha viajado.
Those experiences at the deepest level of consciousness will
be healthily forgotten, but this does not mean they have not
been felt, it is just that one may not realize it immediately, as
they affect only the deepest levels.
Esas experiencias en el nivel ms profundo de la

conciencia sern saludablemente olvidadas, pero esto no
significa que no se hayan sentido, es slo que uno no
puede darse cuenta de inmediato, ya que slo afectan a
los niveles ms profundos.
I believe that looking at something continuously can lead
down to those deepest levels, and that something can be
shared.
Creo que mirar algo continuamente puede llevar a esos
niveles ms profundos, y que ese algo puede ser
compartido.
288 . EL COLOR DE LA LUZ

1
Manabu Yamanaka
CCLXXXVIII
46
1959/
Hiroshi Sugimoto
CCLXXXVIII
54
1948/
Asuka Katagiri
CCLXXXVIII
20
1971/
40,00
120
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el Color

Person who clad Entirely with vinyle wrapper.

Since then, I have taken some dozens of pictures

They live in a reality void of material assets

whether it's waves or particles

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Such experiences contain all the forgotten memories, hidden

Esas experiencias en el nivel ms profundo de la

288 . EL COLOR DE LA LUZ

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