Saori Nakamura

A famous photographer once told me that the repetition of visual hooks can become a statement – only when technique does not overshadow content.




TOP TO BOTTOM, from (“I was in the quiet place all too soon.“)
© Saori Nakamura

Unfortunately, he was being sarcastic as we were reviewing a body of work that consisted of poorly focused images. We often associate photography with pin-sharp representations of reality but Saori Nakamura’s series sought to bend that. In this series of work, she questions the authenticity of memories as represented through photography; at times resembling an Impressionist painting, at times looking like tangled abstract mess. While some images may have been imprints of her memories – a strangely angular and nefarious-looking hint of a slide at a playground, a house silhouetted against dusk; I found myself wondering about the significance of the rest of the series.

Who were the people smiling/frowning at the photographer? Without distinctive features, the viewer finds it hard to place the images in context. Was the viewer to question the authenticity of photography as a facsimile? Or did Nakamura cleverly put together a bunch of images that we would have normally discarded?

While you consider these questions, you can see more here.