Series: Nature Eroticism — Botanical Agape
1. The Method: Clinical Indifference
This series is an experiment in purely objective recording. I capture plants with the clinical coldness of a specimen record, extracting raw textures—veins, fluids, and tension—without sentiment. The subject here is "Botanical Agape": a self-contained biological cycle that simply lives, blooms, and decays. It possesses no intent to seduce, no consciousness of beauty. It exists in a state of absolute indifference.
2. The Reaction: Projected Eros
However, when the human gaze confronts this indifference, a transformation occurs. The viewer does not see a plant; they detect the "Time of the Flesh." The silence of the botanical subject acts as a vacuum, compelling the viewer to project their own latent desires into the void.
3. The Mirror of Interiority
The "Eroticism" perceived in these images does not reside in the subject. It resides solely within the "Absence" of the viewer. The photograph acts not as a portrait of a flower, but as a chemical reagent—a mirror that reflects the depths of the viewer’s own libido.
I offer here a key. The image remains silent; it is your memory that screams.
Production Notes: The Architecture of Void
The Support: Historical Skin (Kyokushi)
The image is settled upon "Kyokushi" (Japanese Bureaucratic Bond), a substrate historically reserved for government bonds and currency. By appropriating the very skin of institutional authority, the work transforms from a mere photograph into an "Official Record of Absence." Its fibrous depth does not merely reflect light but traps it, giving the void a tactile, bureaucratic weight.
The Process: Carbon Sedimentation
This is not printing; it is mineralization. Through a high-density pigmentation process, carbon particles are driven deep into the paper's fibers. This act of "Subtractive Synthesis" mimics the geological accumulation of strata. Unlike dye-based images that float on the surface, the pigment integrates with the paper's cellular structure, creating a non-reflective "Saturated Gen" (Deep Black) that absorbs the viewer's gaze into a physical silence.
Objecthood: The Right to Decay
The final output rejects the sterility of acrylic mounting or digital displays. It stands as a naked "Black Monument" exposed to the air. By existing without a protective barrier, the work asserts its "Right to Decay"—sharing the same oxygen, light, and entropy as the viewer, serving as a mortal companion rather than an eternal digital ghost.