10/31 - 11/5, 2023
Saori Miyake’s video works (past works) were available online only during Art Week Tokyo.
The series of video works follows the thought process of Miyake’s photogram series.
The negative-positive inverted images have something in common with the images Miyake sees in her mind when she draws existing images as motifs in the process of making photograms.
The continuous generation of images in time that moves slower than reality is reminiscent of the latent images that emerge when photographic paper is placed in chemicals during darkroom work.
By sharing the images the artist sees in the process of creation through the edited video, we can see how a “pictorial image” emerges with a certain time and space in the process of “what someone once saw, we now see.”


“Garden (Wadakura)”
2022, single channel video, 16min.30sec. loop

This work is edited from footage actually shot by the artist at the Wadakura Fountain Park in the outer gardens of the Imperial Palace.
The fountain was built to commemorate the marriage of His Majesty the Emperor Emeritus; Akihito, and the entire park was redeveloped on the occasion of the marriage of His Majesty the Emperor.
The water, which defies gravity, is blown up and then falls in grains,and is projected in slow motion in a negative-positive inversion.
In the tranquil space of the artificially maintained park within the city, only the black water continues to move organically, and the image that continues to be created stands out.


“Garden (MoFA, Gifu)”
2021, single channel video, 13min. loop

This work was produced during the artist-in-residence program “Artist in Museum (AiM)” by filming the garden and outdoor sculptures at the Museum of Fine Arts, Gifu.
Miyake visited Gifu Prefecture, her birthplace, one year prior to the residency and was struck by the COVID-19 while conducting research.
With the closure of the museum and restrictions on travel across the prefecture, Miyake was forced to make changes in her plans and lifestyle.
While strolling through the garden, she became conscious of the fact that she could view and sometimes touch sculptures and three-dimensional works in the open air.
The photographs and materials from the museum and the situation of the COVID-19 disaster were connected, and the work was created while reflecting on the “natural” landscape created by the coexistence of man-made objects, and on the distance between art and the outdoor environment and people.