Risaku Suzuki’s solo exhibition “Between the Sea and the Mountain—Kumano” brought together recent photos taken in the holy mountains of Kumano, the ancient Shinto capital. The sequence of photos reconstructs an approach to its sacred waterfalls. As usual in Suzuki’s work, the evocation of the site’s sacred character does not depend on any use of religious symbols. The clarity with which anonymous trees and rocks are captured indicates an immersion in the actuality of personal contact with a place, conveyed by an accumulation of discreet perceptions. Similarly, in his 1998 “Piles of Time” series shot at Osorezan, the mountain where it is believed possible to commune with the dead, he reconstructed his journey, frequently conveying a casual “snapshot” approach. Coupled with the overall precision, blurs and accidental details lend the pictures a touch of unreality, signaling an eruption of
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