Artist Statement


Japan has a unique natural environment and a unique Japanese culture and art that has been cultivated there. It is also a world-renowned camera and printer powerhouse when it comes to photography technology. Hiroike is Japanese and has been a systems engineer for many years, so he expresses "Japanese beauty" through photography from the Japanese aesthetic sense and an engineer's perspective.


"Japanese aesthetic sense"

The feeling of "Beautiful!" is born from the resonance between the beauty of an object and the aesthetic sense of the person who sees it, and that aesthetic sense is based on instinct as a living thing, personal experience, individual's learned knowledge. It is a very wide and profound thing that originates from culture and history. Japanese people have a unique sense of beauty that sees things that are generally not considered beautiful to be beautiful.

Japan is a long and narrow island country with a complex topography unlike any other in the world, including mountains, rivers, and the ocean, as well as four distinct seasons and a varied climate. While Japan's nature provides us with wonderful scenery, clean water, and a rich variety of flora and fauna, it can also sometimes claim lives through floods and earthquakes. The Japanese people, who have coexisted with nature, respecting and fearing it, have found beauty in nature since ancient times, as expressed in the words "Kacho Fugetsu"' and "Setsugetsuka". Its characteristics tend to be simplicity, quietness, harmony, ambiguity and delicacy as beauty. Japanese people have also developed a unique sense of aesthetics, such as "mujo", "mononoaware", "yugen", "fuzei", "wabi" and "sabi", in response to the transition and change brought about by nature. For Japanese people, nature has nurtured their sense of beauty, and nature is the standard for beauty.
This aesthetic sense has been passed down from ancient times to the present day, and has taken root not only in art but also in the details of food, housing, one's own actions, and way of life, and has influenced corporate philosophy and political ethics. Considering the Japanese aesthetic sense also means questioning its value in society and considering how it can be utilized in an ever-changing world.

Hiroike is inspired by Japanese paintings such as Suiboku-ga (ink and wash painting), and seeks out and looks at his subjects with a Japanese sense of beauty, attempting to express it through the medium of photography.


"As a Japanese engineer"

Japan is a world-renowned camera powerhouse, with Japanese manufacturers dominating the top five in the world of digital cameras, and the total share exceeds 90%. Japan is also a printer powerhouse, with a global market share of over 50%.

Hiroike worked as a systems engineer for many years, developing slideshow programs, so as a Japanese person, he was proud of his photography-related technology. Therefore, when he started his career as a photographer, he aimed for "high-resolution photos" more than anyone else. He believes that this is not just "high quality" but in a sense an "expansion of expression."

Today's high-resolution digital cameras and processing software, as well as the photographic technology of high-resolution large printers, have made it possible to produce "high-resolution large-format prints" that were previously unimaginable. This is a size that exceeds the B0 (1.5m x 1m) size at the resolution that we have seen in A4 and A3 sizes until now. There is the possibility of new photographic expressions that were not possible with the general resolutions up until now, such as "animals living in a vast landscape."

Hiroike is working on "photographing landscapes he has photographed in unprecedented resolution" and "photographing new subjects that can only be expressed in unprecedented high resolution" with the assumption that he will create works of B0 (1.5m x 1m) size or larger, and is also honing his super-resolution technology on a PC.
For printing, he has installed a 44-inch large printer and a 1600mm cold laminator (panel stretching machine) at home to print B0 size and process it with Alpolic. In addition to wooden frames, he is also developing aluminum frames that are rigid enough to not bend even at B0 size. The photos he is currently taking are based on the assumption that he will "finish them as framed works of B0 size or larger."


"Perspective of time"

Photography is generally thought of as "capturing and recording a moment" or "converting three dimensions into two dimensions", and both film cameras and current digital cameras have been developed with a focus on "capturing a moment". However, Hiroike believes that "photography is a device that converts four dimensions into two dimensions", and does not simply consider exposure time as "the time it takes to obtain the appropriate amount of light", but actively incorporates it into his photographic expression as a subject in a sense.  The world we live in is a "four-dimensional space" where time flows in a three-dimensional, solid space. Also, early photographs, when the "daguerreotype" was invented, required exposure for several tens of minutes. Hiroike believed that the exposure time of photography should be more freely extended or shortened, but the recent evolution of ND filters has expanded this freedom. It is now possible to reduce light to one tens of thousands with little degradation of the image. As the exposure time becomes longer, the meaning of time changes for each subject. For example, if you take a long-exposure shot of a rough seascape, the exposure time for stationary rocks is simply the time it takes to obtain the right amount of light, but for moving waves, it also has the added meaning of the time it takes for the waves (foam) to move. This difference can express the Japanese aesthetic values ​​of "transience," "change," and "impermanence".


"Photography that draws"

When the freedom of exposure time increases, the freedom to "move the camera during exposure" also increases. It is the same as the "afterimage" we see when we shake our heads. And this freedom makes it possible to "draw" with photography. It goes beyond the conventional idea that "photography records what you see" and is truly a "Photo-Graph (picture of light)". What is drawn there is "camera movement = human movement". In particular, by using strong light sources such as fireworks and illuminations, you can draw delicate and clear "pictures of light". And you are free to draw what you want. Hiroike attempts abstract expressions such as "emotions" and "universe" that cannot be expressed in normal photography.













現在の高解像度のデジタルカメラと処理ソフト、高精細な大型プリンターの写真技術はこれまで想像もできなかった「高精細な大判プリント」を可能にしています。それは今までA4やA3サイズで見ていた解像度でB0(1.5mx1m)サイズを超える大きさ。そこには「広大な風景の中に生きる動物」などの今までの一般的な解像度では出来なかった新たな写真表現の可能性があります。廣池はB0(1.5m x 1m)サイズ以上の作品にすることを前提に、「これまで撮影してきた風景をこれまでにない解像度で撮影する」事と「これまでにない高解像度でしか表現できない新たな被写体を撮影する」事を進めていますが、そこにPCでの超解像技術を磨いています。出力では自宅に44インチ幅対応の大型プリンターと1600㎜幅対応のコールドラミネーター(パネル張り機)を導入してB0サイズのプリントとアルポリック加工を行っています。また木製額と併せ、B0サイズでもたわまない剛性を持ったアルミ額の開発を行っています。現在撮影してる写真は「B0サイズ以上の額装作品に仕上げる」事を前提に撮影しています。