day light was produced on 4 x 5 negative film using day-long exposure from dusk to dawn; watching the moon was created where Kitano aligned the camera lens with the moon’s trajectory to capture its motion. The misalignments in these images reveal the slippages between time on earth and time expanding outward across the infinite space, as they illuminate the relationships between nature, human life and universe.
Series: day light
About Ken Kitano
Conceptual photographer Ken Kitano’s landscapes and portraits of contemporary Japan challenge what he perceives as globalization’s homogenization of time and space. In his “Our Face” (1999–) series, Kitano takes black-and-white photos of individuals in specific professions, clubs, and associations, then superimposes each photo atop one another. These ethereal and ghostlike images of composite sitters eradicate the different hierarchies and styles within a group, emphasizing their shared light and space. “‘Globalisation’ sounds like a structure where homogeneous people and a single ideology exist centering around one ‘center’,” he says. “There is no such thing as ‘the center’ in this world. I imagine the world to be composed of many localities.” Primarily driven by explorations of process, Kitano also uses extremely long exposures to capture different temporal experiences that the pace of globalized life has caused to go unnoticed.
Japanese, b. 1968, Tokyo, Japan