407 手柄山I Tegarayama I, Hyogo 1989


「Glass Vessel」
I grew up and played around a hothouse, which was the nearest playground in my childhood. It was also a lace for discovery to innocent eyes, also a desk, and sometimes a cradle that healed heartaches.
Time passed and when I again came across hothouses, I hit upon ideas of looking through glass and light coming trough glass. Glass itself seems so unsubstantial as a visional object and yet it is a real substance. It separates the world inside from outside. It gives viewers a double vision like Yin and Yang, distance and nearness, past and future, dream and reality, the temporal world and Nirvana- the world in which two opposites are glimpsed. Such a vision is the eternal theme of my photographic pursuit.
Light in hothouses is unique. Through the large glass ceiling in white-painted frames, the light from outside falls in drops into the space where time seems to have stopped, and the light, in this manner diffused by the glass, slowly settles down. Hothouses arrest time. Is it because of the effect of mysterious light? It has a kind of clairvoyance by which we are invited to the future paradise or carried back to the past hiding place.
In the glass vessel not only many plants are preserved but also time is diffused and the light outside, coming through the glass, is paled; and are both conserved as a vision.