FUJISAN
2010, Japan.

When an object becomes a symbol, generally speaking, the object gets pegged to the ideal held by those who crave for the symbol, and by rejecting any transformation, the object is kept in the same appearance perpetually so that their ideal will never be betrayed. Only with the help of nature and poetry may an object break free from such ideals. This is what Monet did when he gave diverse ‘expressions’ to the cathedral, depicting sunlight that shifts in transition of time, and Hokusai as he laid Mt. Fuji in a dimension that transcends this secular world.

Aruha Miya
text in English / French / 日本語