2023.10.25 Hitoki Koyama

I create photomontages focusing on the themes of “memory” and “uniqueness” using analog photography.

As an artist who creates artworks, I often encounter emotions that are difficult to express in words when I come across the beauty of people and landscapes. I believe that these emotions inherently carry a “shared beauty” within them. It’s as if countless backgrounds intertwine in living beings, cities, stones, and stars, seemingly serving as vessels for life.

“Memories” accumulate layer by layer and crystallize over time. We are constantly carrying an irreproducible “one-of-a-kind material,” which is the world, within us.

In the darkroom, I layer this material like a filter and scatter stones on photosensitive paper. Even with the same time, the same elements, and stars sown in the same way, not a single one takes the same form. I am drawn to this unpredictable and unbalanced diversity.

I am always striving to discover such forms, attempting to capture the unique essence of each life, much like the light that forms images in the darkroom.

About the work



フォトグラムやソラリゼーションという技法は、美術史においてクリスチャン・シャド (Christian Schad, 1894-1982)やマン・レイ(Man Ray, 1890-1976)等、多くの作家によって使用されてきました。手焼き現像のプロセスでは、作家自身がコントロールできない偶然性が生まれ再現不可能な唯一の写真が作られます。


I create artworks with a focus on the themes of “memory” and “uniqueness” using analog photography. I use photographs taken with a film camera and produce one-of-a-kind pieces in the darkroom. Without cutting or pasting, I use elements like stones and plants within the darkroom to create the photographs on a single sheet of photosensitive paper. The serendipitous events that occur during the exposure of the film camera photograph onto the photosensitive paper are essential to the artwork. As a result, no two pieces are ever the same.

Techniques like photograms and solarization have been used by many artists throughout art history, including Christian Schad (1894-1982) and Man Ray (1890-1976). In the process of hand-developing, the artist cannot control the elements of chance, leading to the creation of unique photographs that cannot be reproduced.

While previous techniques involve layering photographs, combining different images, or physically placing objects on photosensitive paper, I add a new dimension of “memory” to the existing dimensions of “time” and “recording of light.”