Seiichi Furuya, Izu, 1978, C-print, 13 x 10 5/8".

Seiichi Furuya, Izu, 1978, C-print, 13 x 10 5/8".

Seiichi Furuya

Galerie Thomas Fischer

Seiichi Furuya, Izu, 1978, C-print, 13 x 10 5/8".

“I prefer to be on this side,” Seiichi Furuya’s second exhibition at Galerie Thomas Fischer, is as much about borders as it is about loss. Intentionally or not, Furuya has become the chronicler of two histories—one private, one public—that intersected for a while, then both disappeared. His biography and his work are inseparable. In 1973, at age twenty-three, the photographer left Japan for Austria. In Graz in 1978, he met Christine Gössler, a student of art history and later an aspiring actress. They married a few months later and in 1981 had a son. From the beginning, Furuya felt compelled to photograph his wife daily. “In her, I can see the woman that passes in front of my eyes, I can see the model, sometimes the woman I love, and at other times the shape of the woman inside me,” he said in 1980, discussing his work for the first time in the magazine he cofounded,

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