Series: Blackened Forest — Digital Vanitas
1. The Digital Vanitas
The contemporary impulse to archive nature into the "Cloud" is a paradox. We attempt to preserve the organic world as binary code, yet in this translation, the weight of existence is stripped away. The monitor emits a weightless light—a digital Vanitas that illuminates everything but holds nothing. This series is an act of resistance: creating a "corpse of the forest" that absorbs light and refuses to be consumed as mere information.
2. The Locus: Mount Kora
The subject is Mount Kora in Fukuoka, a site of spiritual worship and conflict for over 1,600 years. This land does not hold scenery; it holds strata. Beneath the visible surface lies an invisible accumulation of prayers, blood, and history. While the digital eye sees only the surface, the land remembers the weight.
3. The Death of Data
In the logic of the monitor (RGB / Additive Synthesis), mixing all colors results in White—a blinding "now" that erases the past. Conversely, in the logic of matter (CMY / Subtractive Synthesis), mixing all colors results in Black.
The absolute darkness in this series is not a loss of information, nor is it a technical error. It is the "Death of Data."
It represents a critical point where the density of history exceeds the capacity of the digital vessel. The "crushed black" is a singularity of memory—so heavy, so saturated, that it collapses into a physical silence that no display can render.
4. The Monument
Here, the ancient strata of the earth and the fleeting moment of capture fuse into a "Black Monument." It stands as a physical anchor against a world dissolving into symbols, demanding that the viewer confront not an image, but the gravity of absence.
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.