写真と絵画の“ 間（あわい）”
From April 17 to April 26, 2026, the photography exhibition by Takashi Tomo-oka is organized into three parts, tracing the development of his work from earlier pieces to his most recent creations. His photographic practice encompasses series such as flowering trees, lotus, and withered wood, through which he expresses a range of awai—subtle in-between states or intervals.
Tomo-oka’s photographs possess a distinctive quality that seems to drift between painterliness and photographic realism. At first glance, they resemble finely rendered Nihonga paintings transferred onto washi paper; yet the more one observes them, the more a reality emerges that cannot be achieved through painting alone. Despite their striking flatness, the works convey a profound sense of depth and presence. This world—reminiscent of an interpretation of the “Superflat” concept proposed by Takashi Murakami—is made possible through his unique photographic technique.
By employing a classical method of tilting the optical axis of the lens, Tomo-oka captures plants at varying distances in a single frame, all held in sharp focus. In addition, by using a white background and emphasizing negative space, he creates scenes that evoke the aesthetic of Rimpa painting. This expression, which generates an awai between photography and painting, produces a dialectical effect that invites viewers toward heightened levels of perception.
In contrast to the minimalist compositions that eliminate extraneous elements, complex and imperfect plant forms dominate the image. As one looks more closely at these seemingly unreal depictions, traces of reality—such as insect damage and decay—gradually come into view. Transcending the conventional context of photography, Tomooka’s works reveal both the visible surface of the world and the deeper realities that lie beyond it. Rather than being driven by an attachment to simply depicting plants, his work emerges from a pure, unintentional relationship formed through dialogue with them. It is precisely this quality that situates his photography within the awai between the unreal and the real, between painting and photography, inviting viewers into a profound dialogue with his work.
Across the three series presented in this exhibition, themes of life and death, color and form, and growth and decay can be observed. In the depictions of flowers and lotus, one senses vitality through their rich colors.
Yet within these vivid forms, subtle signs of decay—such as insect damage or slight deterioration—hint at inevitable decline, evoking the spirit of vanitas in 16th-century Dutch art. Conversely, the series of withered wood, rendered in monochromatic tones and contrasted with floral imagery, may initially suggest death; however, the powerful, sculptural forms created by the plants themselves leave a vivid impression of life.
While these themes may at first appear as opposing forces—life versus death—Tomo-oka’s work inhabits the awai between such binaries, as well as between Western and Eastern modes of thought. His photographs reveal a world that both polarizes and circulates, functioning as small thought experiments that bring new perspectives to everyday perception. Through his images, he makes these questions visible, offering viewers a new lens through which to consider them.
In this way, by positioning his work within multiple layers of awai, Takashi Tomo-oka expands the act of viewing photography beyond its conventional framework, opening a window onto new modes of thought and perception.
Text Yohei Okamura