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How would you design an image with a given title “two”?

Well, I’m not sure if I would ever be able to produce anything with confidence under this title.
This is because I know just too well about a series of extraordinary photos named “two” by Masaaki Nishimiya, a Japanese ad photographer, by which I was and am overwhelmed so much.

Masaaki has been one and only photographer who has ever made me weep by his work.
I once went to see his exhibition at Cannon Gallery in Ginza, Tokyo, and I happened to find one of his photo books, “The Egg, Fundamentals of Photography” there.
“Two” is one chapter of this book which includes a series of photos of a variety of two objects.
He writes:
”Two” could be said to be the beginning of plural, and at the same time, an ending in itself.
Unintentionally, I have many times had visions of two-ness. Without thought, I have seen the established relationship of “two”.

All the photos in this series were fabulous, however, one of them, the photo of two folding chairs, took my breath away.
I was, for a moment, panicking a bit at the sight of the photo, and next moment I found myself weeping and giggling at the same time.

How could this happen?
Or rather, how could have the photographer made this happen?
I see there are two chairs, but this photo is not about the chairs, but about the “two-ness” as he describes. It’s so obvious.
The chairs are used there just as a conduit to express the two-ness.
There are, indeed, tangible objects in the scene, but the intangible surpasses the tangible here.
This is something completely different from what I have been accustomed to.

This was the very first time that I saw the actual piece of work capturing and conveying the intangible soaring with such strength and clarity far above the tangible.
By then, I had been taking and looking at “usual” photos and I had thought that that was the only one track available.
But that was not true.
I faced a crossroads there.

This encounter, looking back, might have been a remote initiation of my current endeavor in the field of abstract/conceptual animation.
Now I sometimes find myself being inclined toward the idea of making an animation with the theme “two”, however, the vision of the two folding chairs puts a brake on me.
It’s already 4 years since I came across that photo, but the weep-and-giggle symptom still occurs whenever I look at this photo(yes, I certainly bought the book!!!).
When I succeed in making an animation “two”, realizing my own idea of “two-ness” in my work, the symptom might set me free.



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