¡Go Ayano x Kazumi Kurigami Artbook: Portrait
¡Go Ayano, Kazumi Kurigami
Description
[Machine Translation] 545 photographs, 560 pages in total! An unprecedented collection of portraits on an overwhelming scale! Actor Tsuyoshi Ayano ( 40 ) had longed for an extreme expression with Japan's top photographer Kazumi Kurigami ( 86 ). To the exclusion of all else, he dared to shoot once a month in the same studio and in the same position, in an unprecedentedly stoic manner. The film was shot in the same studio and in the same position once a month, eliminating everything, and over the course of eight months, from early spring to midwinter, the film beautifully captures the ever-changing face of a man. ( Go Ayano ) "Returning to the starting point of creation" When I first visited Mr. Kurigami's studio, I came across a portrait of a man. The portrait was not a "picture" but just "existed" there. I had no idea when it was taken. I had no idea when the picture was taken, because there was no time or era in the picture. It reminded me of a saying. When I started as an actor, I was told, "Don't take the picture. Just be there. I remembered that this was the starting point of my own creation. I learned to express myself from a place where there was no story and no fiction. By throwing myself into the world of portraiture, I was able to return to my starting point. The days of dueling with Ms. Kurigami, in the name of challenge, taught me once again the importance of confronting the work, myself, and others. ( Kazumi Kurigami ) "The overwhelming weight of his face and the exploration of the whole of Tsuyoshi Ayano through his face" He asked me to film him as he was in his 30s, up to the age of 40. So, once a month, I eliminated any scene and continued to photograph only his face as if I was making a fixed-point observation. There were times when he would get out of his car and come into the studio wearing a coat, put on a mask, and just stand in front of the camera. Both his face and body changed rapidly through the roles he played at the time and through his personal life, and the process of change was interesting. It was interesting to see how much I could bring out the whole person by concentrating only on the face, and how much depth I could bring in. In a way, it was also an experiment. Once during a shoot, I suddenly burst into tears. I reacted to that and kept quietly releasing the shutter. Tsuyoshi Ayano as a human being with emotional ups and downs like that. I don't know or hear why he cried, of course. But it was very impressive.
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