In the mid-1960s, I chose the Micronesian islands of Palau (then under United Nations administration as a U.S. Trusteeship, now the Republic of Palau) as my production site and attempted several trips. I found myself lying face up in the coral state floating within the horseshoe at Kayangel Islands, located at the northernmost tip, facing the deep cobalt sky. Although I ultimately failed to reach a conclusive result in terms of photographic and cinematic representation, I was able to sense, albeit vaguely, the realm of abstract (boundary) concepts and grasp the fleeting image of that experience.

 

I adhere to the principle of refining and simplifying, further stripping away excess. With this “structure” in mind, when attempting to materialize an unattainable object (infinite edges/abstraction) that cannot be seen (or touched), I drew a single circle in the lapis lazuli sky and cut out a “petal” from within the circumference, capturing it (through photography). It was a secret experiment deep within my heart.

 

Assuming that “photographs (still images) and videos (moving images) are merely representations of two or three-dimensional entities (beings/objects),” when attempting to exhibit photographic and cinematic expressions (including the entire creative process leading up to the exhibition), one cannot escape the concept of a “frame” (border/edge). If we consider the infinite edge as the frame, and the peripheral elements accompanying the captured “petal” (one side/corner) within the artwork as the “enclosure” (*boundary), then the theory of infinite edges (∞) cannot be established unless there are boundaries (limits) along the edge (circle) perimeter that remains after the cut.

 

Assuming that the boundary (infinite edge/abstraction) between the infinite edge (absolute) remaining in the sky and the infinite edge (relative) of the captured “petal” is associated with the sky itself, the spatiotemporal infinite edge of the cut-out “petal” should exist as a perfect “abstraction.” If we dare to strongly argue this event and substitute it into my theory of photography, photographic and cinematic expressions should serve as the ultimate destination of abstraction, embodying the essence of my structure.

 

Let us proceed with this brief discussion by assuming ‘HORIZON-Boundary’ as the ideal structure for photographic and cinematic expressions (representations in digital three-dimensional space).

 

As a photographer, I would like to make it a personal matter and discard the concept of a frame (border). I want to pursue a “photographic and cinematic expression” that is solely based on a simple infinite edge (abstract concept). I have presented the concept of an infinite edge, representing the relative and absolute aspects of abstraction, as the ‘enclosure’ within the ‘HORIZON-Boundary’ I showcased on my website.

 

The reason I tilted the Boundary (horizon line) slightly upwards and challenged the use of multiple images in the expression (structure) is as follows. Let me provide a physiological (biological) example. Imagine a right-handed person drawing a straight line horizontally to the right on a blackboard using chalk. For some reason, that line tends to have a slight upward tilt towards the right shoulder in relation to the surface. I invite you to try it out and see for yourself.

 

Regarding the use of multiple images, I believed that it would enhance and emphasize the horizontal perception of

 

I understand your concept of leaving one side open, enclosing an edge with no definite color, and using three sides as the framing “enclosure.” Let me see if I can grasp your understanding. In the context of a digital three-dimensional space, let’s hypothetically assume an indoor space in the shape of a spiral cube (with a diameter of approximately 10 meters). The desired atmosphere would be a bright, translucent daylight color, with an undetermined light source angle. The goal is to create an image of soaring through outer space, where the infinite edge of the ‘HORIZON-Boundary’ is placed and arranged with a specific rhythm. I want it to float mysteriously as a creative object without casting any shadows.

 

You aim to represent the concept of the unattainable infinite edge, the ‘HORIZON-Boundary,’ in a simple manner through photographic and cinematic expressions. You have recorded the mission of the expressionist’s ultimate purpose here. As an expressionist, you definitely want to attempt this installation of the ‘HORIZON-Boundary.’

 

On September 30, 1984, I encountered the first edition of “Change in Meaning” by Atsushi Mori, published by Chikuma Shobo. It was a momentous encounter that brought clarity to the concept of the boundary, the infinite edge (abstraction), which likely served as the origin of my creative coordinates. It truly was a wonderful encounter with a book that became my guiding principle.

 

From the excerpt on page 23 of “Eyes of the Dead”: ►Take any arbitrary point as the center and draw a circumference with any arbitrary radius. The circumference serves as the boundary, dividing the overall concept into two regions. The boundary must belong to one of these two regions. In this case, the region where the boundary does not belong is referred to as the interior, and the region where the boundary belongs is called the exterior. Interior + Boundary + Exterior = Overall concept, and Interior = Overall concept.

 

Source: “Migiri,” “Migiri Mizugiwa,” “Seirei Shu, Kyu: ‘Naka no Engetsu o Mite,'” “Tokoro, Bashogiwa,” Shinmura Izuru Edition, Kojien Dictionary, 1993 edition.

 

Photographer: Aramasa Taku, June 13, 2022, 12:00. (Translated by ChatGPT)