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Kenro Izu “Mono no Aware”
PGI
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Kenro Izu
PGI is pleased to announce Mono no Aware, Kenro Izu’s first exhibition at our gallery.
In 1971, Kenro Izu left Japan for New York at the age of 21. He has spent the last 50 years simultaneously running a commercial photography studio there and documenting human dignity and worship in stunning platinum prints made using a 14×20 inch ultra-large format camera. After his first visit to Egypt in 1979 he became attracted to that which transcends human understanding, leading to a photographic pursuit of sacred places and ancient stone monuments around the world. Upon his visiting Cambodia for the first time in 1993, the massive scale and unique atmosphere of Angkor Wat immediately registered with him as a “special place” which he would spend seven years photographing. He next turned his gaze to the inner sanctuaries of the people of Bhutan in 2003 and later to the unwavering faith of the peoples living in India’s Ganges Valley.
After a lifetime of photographing spirituality and sacred places across the globe, Izu’s latest effort, Mono no Aware, is his first major effort in his home country of Japan. It is a delicate exploration of the Japanese aesthetic notions of wabi-sabi and mono no aware comprised of natural light still lifes of Noh masks, ancient iwakura (god stones), scenery from late-period shrines and photographs of neglected roadside flowers made near his home during the COVID-19 lockdown.
As an artist whose interests progressed from sacred places to the worshippers who visit them and later to inner spiritual sanctuaries, it seems only natural that he would sense “a deep and alluring spirituality” emanating from Noh masks upon encountering them. Noh theater is a traditional Japanese performance art with a history of over 650 years–the longest in the world. Perhaps one of its most impressive aspects is that along with the scripts and production methods, the same masks and costumes used in the earliest performances have been passed down through countless generations.
While Izu had reservations about photographing completed works of art, this did not hinder him in capturing the essence of the haunting masks, from their seductive luster created by centuries of restoration to the chips and cracks accumulated over long years of use. The masks feel imbued with the emotions of their previous owners, and by spending time alone with each one he has managed to reveal their souls flawlessly.
This exhibition will contain approximately twenty-five silver gelatin prints.
In 1971, Kenro Izu left Japan for New York at the age of 21. He has spent the last 50 years simultaneously running a commercial photography studio there and documenting human dignity and worship in stunning platinum prints made using a 14×20 inch ultra-large format camera. After his first visit to Egypt in 1979 he became attracted to that which transcends human understanding, leading to a photographic pursuit of sacred places and ancient stone monuments around the world. Upon his visiting Cambodia for the first time in 1993, the massive scale and unique atmosphere of Angkor Wat immediately registered with him as a “special place” which he would spend seven years photographing. He next turned his gaze to the inner sanctuaries of the people of Bhutan in 2003 and later to the unwavering faith of the peoples living in India’s Ganges Valley.
After a lifetime of photographing spirituality and sacred places across the globe, Izu’s latest effort, Mono no Aware, is his first major effort in his home country of Japan. It is a delicate exploration of the Japanese aesthetic notions of wabi-sabi and mono no aware comprised of natural light still lifes of Noh masks, ancient iwakura (god stones), scenery from late-period shrines and photographs of neglected roadside flowers made near his home during the COVID-19 lockdown.
As an artist whose interests progressed from sacred places to the worshippers who visit them and later to inner spiritual sanctuaries, it seems only natural that he would sense “a deep and alluring spirituality” emanating from Noh masks upon encountering them. Noh theater is a traditional Japanese performance art with a history of over 650 years–the longest in the world. Perhaps one of its most impressive aspects is that along with the scripts and production methods, the same masks and costumes used in the earliest performances have been passed down through countless generations.
While Izu had reservations about photographing completed works of art, this did not hinder him in capturing the essence of the haunting masks, from their seductive luster created by centuries of restoration to the chips and cracks accumulated over long years of use. The masks feel imbued with the emotions of their previous owners, and by spending time alone with each one he has managed to reveal their souls flawlessly.
This exhibition will contain approximately twenty-five silver gelatin prints.
Schedule | Nov 24 (Wed) 2021-Jan 21 (Fri) 2022 Opening Hours Information
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| Fee | Free | ||||||
| Website | https://www.pgi.ac/en/exhibitions/6369/ | ||||||
| Venue | PGI http://www.pgi.ac/index.php?lang=en | ||||||
| Location | 3F TKB Bldg., 2-3-4 Higashi-azabu, Minato-ku, Tokyo 106-0044 | ||||||
| Access | 4 minute walk from the Nakanohashi exit of Akabanebashi Station on the Toei Oedo line, 8 minute walk from exit 6 at Azabu-juban Station on the Namboku or Toei Oedo line, 8 minute walk from exit 1 at Kamiyacho Station on the Hibiya line. | ||||||
| Phone | 03-5114-7935 | ||||||
| Related images | Click on the image to enlarge it |
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