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Sohei Nishino interview
Light Boxies (LB)
How did you get started in photography?
Nishino(N)
In high school.
I went on a pilgrimage and that's when I started taking pictures.
Until then.
Draw a picture.
I don't know if I like it.
It was a bit of an abstraction, but now that it's detailed
It's like an image of the work.
A detailed maze of
It's like a miniature painting.
I've been drawing since junior high school.
LB: Why did you want to do photography and not be a painter?
N: It's more like...
I'd like to be a painter.
I thought I'd like to make things so-so.
I chose the method of photography.
In high school.
So how do you make a career out of this?
Because it's the quickest way to think about it and I want to be able to draw a little better.
I was thinking of going to drawing school.
After high school, you went to art school to study, how to draw.
To the canvas.
I was drawing apples and stuff.
That process, well, that's what made it so interesting.
One day, on that pilgrimage I mentioned earlier.
I've walked around with a tent, a sleeping bag, and a camera I borrowed from my mother and took pictures.
The work is so much more than that act.
You had a good time.
I used to love taking pictures before that.
I had more fun painting that picture than that.
You can see the landscape changing like this as you walk.
I'm just filming and recording.
It was more of a work of art than a painting.
If I took a step, a different landscape would appear, and if I walked...
I was able to see a different landscape again, and I was able to learn about that itself, and I realized that the world is expanding by having a camera.
That's what led me to this photograph.
I found it interesting.
LB: Your work is a collage image, how did it come to be?
N: I got into photography and I'm going to study photography in college.
When I started college.
I was taking snapshots on film all the time.
Then one day I learned about contact sheets.
A contact sheet is an image made by putting a negative on photographic paper and giving it light, but it's easier to understand if you call it an index print.
It's a way to see what you've taken in a single sheet.
I was interested in that at first.
I was really drawn to it, because I thought that hobbies, thoughts, and other aspects of a person's personality would really come out in that way.
It was fun to follow the frame by frame, and I was able to see the person's personality in each frame.
It was fun to see not only my own contact sheets, but also those of my classmates who were learning about photography around me.
Normally, many of us would pick one photo from a contact sheet and present it to the audience one at a time.
I would pick a photo that I liked, but actually I thought that the photo I didn't pick would be the best way to get to know the person better than the one I chose.
As I looked at the contact sheet, I thought to myself, "Why did she take this picture after this one?
Why did you take three pictures of this subject in a row, or why were you so obsessed with this subject?
The person's point of view and their actions are clearly visible along the way in the film.I was addicted to imagining them.
With that realization, I wondered if I could do something with it as a piece of art.That's how it all started.
So you started doing expressions using contact sheets.
From there, I started making small ones at first, and then gradually transformed them into what they are now!
LB: Why did you decide to focus your activities mainly abroad and not in Japan?
N: As my work became more established and I started to show my work to the world, galleries and museums overseas started to contact me, and I started to have more opportunities to show my work abroad.
When I went abroad to shoot, I got a lot of people involved and my network expanded, and I was lucky enough to meet curators in each city I went to, who invited me to participate in their exhibitions.I don't think I had that in mind at the beginning, but rather a natural progression of things that grew out of it.
LB: How long have you been working in that style?
N: Well, it's been since 2002, so about 17 years.
LB: How old were you in 2002?
N: 21 years old.
LB : How many pieces of work do you have at the moment?
N: I started photographing nature four or five years ago, and recently trekked to Everest base camp and
I made a film on the theme of the drift ice that connects Russia and Shiretoko, or on the Po River in northern Italy, a river that stretches 650 kilometers from the Alps to the Adriatic Sea.
Recently, I've been taking pictures of nomads in the mountains of northern India.
If you include those series, I have about 40 pieces.
In addition, I use GPS to visualize my daily footprints and re-print snapshots.
LB: The other day I tried your snapshots for the first time at Lynn Art in Gunma, Japan.
I was surprised at how good the snapshots were compared to the large collages I had seen in the studio.
You've done a lot of collage and photography so far, but do you feel like you'll be adding more snaps and such in the future?
N: Right.
It's not so much about doing snaps.
Originally, this kind of collage, the part where you went back to it again before the work was finished.
It's more like.
You said that you have an impression of collage works with impact.
I don't get the impression that I'm shooting in a single piece, but among the tens of thousands of images in the larger works, about 1/3 of them were taken on the street, so to speak.
In recent years, I've been taking a lot of snaps in the area, and it's more of a natural progression for me to put them on that side of things.
As for the process of selecting one of these photos, I guess I should go back to my roots, or perhaps to the time when I first encountered photography.
What's the point of looking at it again, or rather, what's the picture?I wanted to get to know the "what's going on" again, and I guess you could say that I believe that this will lead to a mutual relationship.
LB: What made you decide to make a collage instead of going to snaps?
N: Right.
I've been doing snaps.
I've been making collage work since college, but I was looking for an interest that wasn't a snap in me, and I couldn't find my own expression in something that wasn't too spiritual at the time.
That's when I'd go up to high places and take pictures.
You were playing with the photos you took from that high up in the sky and piecing them together.
By connecting them together, I was able to see the landscape I was looking at in a three-dimensional way, and the things I couldn't see in a single photo looked like a map when two or three photos were piled on top of each other.
It wasn't so much that I wanted to make a collage, but rather that when I took a picture of what I was looking at from a high place and laid it out on the table, the world I was looking at became incredibly three-dimensional and it became like a map.
It wasn't that I wanted to make a map, I was simply taking a picture of what I was looking at, and when I laid it out and looked at it, it was a map.
It wasn't a particularly calculated diorama.
LB: Usually, with a photograph, the panoramic, the longest one on the side is usually the largest
Nishino-san's is the size of the collage that you've collaged and maximized.Does that mean that the overall vision looks bigger and becomes a map?
N: Right.
At first I did it in one place and just shot from one point.
That was the next time I didn't want to go to a different area.I was moving from one high point to another.I think my state of mind at that time and all that kind of stuff probably had an effect on me, but it was that kind of time.
LB: Do you feel like your expression is going to change even more in the future?
N: Now, the works are getting bigger and bigger and bigger, like the Himalaya series, the 53rd Tokaido series, etc., and the audience, the viewers, are moving around as they watch these works
Up until now, I've been trying to create works that you can not only see if you move your eyes, but also follow the footsteps you've walked in, or rather, relive them.
LB: It's not just about looking at it, it's more like an experience.It's completely different depending on where you look.
N: I'm more conscious of the experiential aspect of it, I guess.
LB: Usually it's just one picture.
There is only one picture, so you focus on that, don't you?In your case, there are so many different points of view, you see things differently.
N: When you look at something, you have your own sense of distance, and if you walk around, your angle changes, so it's not like I'm trying to confine that into one piece of work, but rather I'm trying to show you all the perspectives, and I'm trying to encourage the viewer to have the same kind of visual experience.
LB: I see.
I'm starting to understand how Nishino became a photographer and how he got to where he is today.
Thank you!
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