写真を介して想起することは時に感傷を伴う。実際に、いくつかの形態の写真はそれを観る者に不在を切望させるような痛みを呼び起こす。家族アルバム、故人のポートレート、風景写真…鑑賞者の意識へ生起するこれらの体験は、イメージに彩られた対象を単なるモノとして自覚させてはくれない。イメージの干渉に従わない、剥き出しの「写真それ自体」を捉えなおすために、私は写真をあえて新たな環境に置くことにした。

部屋へ飾ってもらうことを前提に、私は自らが撮影した「影の写真」を友人や面識のない誰かへ手紙にして送付した。手紙を受け取った人たちは、戸惑いながらもそれぞれの部屋へ写真を飾ってくれた。後日、私はあまり時間をかけないよう注意し、再び「影の写真」を撮影した。まだ部屋へ馴染んでいない「影の写真」は、想起という用法を失った主なき影のようだ。

Recollection through photographs is sometimes accompanied by sentimentality. In fact, some form of photography evoke an ache that makes us long for an absence. Family albums, portrait photo of the deceased, memorable scenery, …These experiences that occur to the consciousness of the viewer does not make us recognize the objects presented as images as a mere thing. To recapture the bare "photograph itself," which is not subject to the interference of the image, I dared to place the photograph in a new situation.

I sent the "photographs of shadows" taken by myself in the form of letters to friends and people I did not know, intending to have them displayed in their rooms. Those who received the letters were puzzled, but they displayed the photos in their rooms. Later, I took the " photographs of shadows" again, being cautious not to leave too much time. The "photographs of shadows," which have not yet been acclimated to the room, are like "shadows without an owner,” which have lost their use of recollection.