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Exhibition Record: PASHA STYLE Certified Exhibition Vol.10 — Distance from Portraiture, the First Step Toward Materiality

■ It Began with a Single Homage

I was deeply struck by Misuzu Shibuya’s work, Timeless #04. Rather than allowing digital images to be consumed and discarded behind a screen, I desperately wanted to capture the "duration of time" flowing within them. That visceral impulse triggered everything.

■ What Was Imbued into the "First Prototype"

It was during this exhibition that I first experimented with layering transparent FRP (Fiber Reinforced Plastic), an industrial material, over a photograph printed on Japanese Washi paper. This was the literal "First Prototype" of what I would later define as my core philosophy: AIO (Absolute Intervention of the Original). The organic softness of water-woven Washi paper collided with the cold rigidity of resin as it violently shrank and hardened through chemical reaction. In that clash, the photographic data ceased to be a mere "image" and transformed into a tangible, physical "matter."


A mixed-media artwork, the first prototype for AIO, combining a monochromatic photographic portrait of a huddled figure on Japanese Washi paper with a textured, industrial FRP (Fiber Reinforced Plastic) resin overlay. The central dark silhouette of a person sitting curled up in patterned clothing is covered by a glossy, imperfect transparent resin layer containing visible scratches, air bubbles, and wrinkles that catch the light, creating a unique tactile and visual 'noise' against the soft fibers of the Washi paper visible at the deckled edges. The entire piece is mounted within a dark border.

■ Received Words, Discerned Boundaries

At the venue and on social media, my peers truly grasped the weight of this experiment. U_cchi discerned the critical connection to my lifelong career in precision glass polishing. He noted that my physical body, which usually demands absolute "Order," was consciously accepting "Noise (Entropy)"—scratches, air bubbles, and wrinkles—as I poured the resin. He captured the essence: it is precisely within this contradiction that irreversible time resides.TAKAYUKI experienced firsthand the uncanny "presence" and visual fluctuation emanating from the FRP within the exhibition space. Furthermore, AMS (Advanced Media System), a professional photographic lab in Kyoto, was quick to recognize the potential of this new expression utilizing Washi paper, promoting it broadly on social media. Having the official backing of a lab that deeply understands the intersection of craftsman technique and material provided immense validation.


"An exhibition installation featuring three distinct framed photographic artworks hanging on a clean white gallery wall. The top center frame holds the dark portrait of a huddled figure, identified as the 'FRP Sculptural Photography' (First Prototype), which is a print on Japanese Washi paper under a heavily textured, coarse industrial FRP (Fiber Reinforced Plastic) resin layer that creates a glossy and imperfect surface. To its right, a second framed portrait of a lying woman is presented with a similarly rough and translucent textured FRP resin finish over a photographic print. A descriptive text panel with both Japanese and English text is visible below the second artwork. The gallery lighting highlights the unique tactile textures of the artworks. Below the second framed piece, a smaller third portrait is uniquely mounted on a light-colored, textured, and perhaps backlit panel, adding to the material dimension of the exhibition. The entire scene captures the blend of photographic imagery and sculptural materiality in a gallery setting."

■ Portraiture as a "Yorishiro" (Vessel for the Spirit)

Until then, perhaps I had been trapped in the pursuit of capturing "beautiful portraits." However, this exhibition marked a definitive turning point within me. The women being photographed, the beautiful landscapes—they are nothing more than a Yorishiro (a vessel or medium) to draw the memories and emotions from within my mind out into this physical world. "It is not the photograph that I am manipulating." It became about measuring the psychological distance to the subject and discovering how to intervene with the traces of my own body within dead digital data. Since this exhibition, I have ceased to look merely at the photograph itself, beginning instead to contemplate the materiality and duration that lie far beyond it.


"A photographic comparison showing two distinct framed mixed-media artworks lying side-by-side on a light-colored wooden floor. The piece on the left, identified as the 'First Prototype' of FRP sculptural photography, features a dark monochromatic portrait of a huddled figure on Japanese Washi paper, heavily overlaid with a glossy, imperfect layer of transparent industrial resin with intentional 'noise' like scratches and bubbles. To its right, a second, larger framed piece, a 'Second Prototype,' displays a different monochromatic portrait on Washi paper under a similarly textured and imperfect translucent resin finish, showing a figure in a lying position surrounded by subtle forms like white flowers. Both artworks have dark frames and show the deckled edges of the Washi paper."

Pasha Style 認定展 Vol.10 出展記録 ── 人物写真との距離、物質への最初の一歩


Pasha Style 認定展 Vol.10 会期： 2026年3月27日（金）〜 3月29日（日）

  • 3月27日（金） 13:00 〜 20:00

  • 3月28日（土） 11:00 〜 20:00

  • 3月29日（日） 11:00 〜 19:00

  • 会場： 千住ミルディスⅠ番館 11F

  • 住所： 東京都足立区千住3-92

  • アクセス： 北千住駅より徒歩1分 ■ 始まりは、一枚のオマージュだった

写真家・渋谷美鈴氏の作品『Timeless #04』に強い衝撃を受けた。

A material and ethereal portrait of a young woman lying with white flowers, featured on Misuzu Shibuya's "Timeless #04" concept card, and a primary example of the first prototype of FRP sculptural photography. The entire piece is layered under heavily textured, cold-toned, transparent resin on Japanese Washi paper.

■ 「初号機」に込めたもの

このとき、私は初めて「和紙」にプリントした写真の上から、工業素材である透明な「FRP（樹脂）」を重ねるという実験を行った。のちに「AIO」と名付けることになる、私の表現の『初号機（プロトタイプ）』だ。 水で漉かれた和紙の柔らかさと、化学変化で激しく縮みながら固まる樹脂の冷徹さ。その二つが衝突したとき、写真データはただの「画像」であることをやめ、触れることのできる「物質」へと姿を変えた。

A mixed-media artwork, the first prototype for AIO, combining a monochromatic photographic portrait of a huddled figure on Japanese Washi paper with a textured, industrial FRP (Fiber Reinforced Plastic) resin overlay. The central dark silhouette of a person sitting curled up in patterned clothing is covered by a glossy, imperfect transparent resin layer containing visible scratches, air bubbles, and wrinkles that catch the light, creating a unique tactile and visual 'noise' against the soft fibers of the Washi paper visible at the deckled edges. The entire piece is mounted within a dark border.

■ 届いた言葉、見えた境界線

会場やSNSで、大切な仲間たちが私の実験を受け止めてくれた。 うっちーさんは、私が長年やってきた「精密ガラス研磨」という職人の目線を見抜いてくれた。完璧なOrder（秩序）を求める肉体が、あえて傷や気泡、しわという「ノイズ（エントロピー）」を受け入れて樹脂を流し込んでいる。その矛盾の中にこそ、不可逆な時間が宿っているのだと。 たかゆきさんは、展示空間でそのFRPが放つ、異様なまでの「存在感」と視覚の揺らぎをその目で確かめてくれた。 そして、京都のプロフェッショナルラボであるAMS（株式会社エイエムエス）さんも、この和紙を使った新しい表現の可能性をいち早く見つけ、SNSで大きく発信してくれた。職人の技術と素材が結びついた瞬間を、公式にバックアップしてもらえたことは大きな自信になった。

"An exhibition installation featuring three distinct framed photographic artworks hanging on a clean white gallery wall. The top center frame holds the dark portrait of a huddled figure, identified as the 'FRP Sculptural Photography' (First Prototype), which is a print on Japanese Washi paper under a heavily textured, coarse industrial FRP (Fiber Reinforced Plastic) resin layer that creates a glossy and imperfect surface. To its right, a second framed portrait of a lying woman is presented with a similarly rough and translucent textured FRP resin finish over a photographic print. A descriptive text panel with both Japanese and English text is visible below the second artwork. The gallery lighting highlights the unique tactile textures of the artworks. Below the second framed piece, a smaller third portrait is uniquely mounted on a light-colored, textured, and perhaps backlit panel, adding to the material dimension of the exhibition. The entire scene captures the blend of photographic imagery and sculptural materiality in a gallery setting."

■ 人物写真という「依代（よりしろ）」

それまで、私は「きれいなポートレート」を撮ることにどこか囚われていたのかもしれない。けれど、この認定展を境に、私の中で何かが決定的に変わった。 写っている女性（被写体）は、美しい風景は、私の脳内にある記憶や感情をこの世界に引っ張り出すための「依代（器）」にすぎない。「いじっているのは、写真じゃない」。 被写体との心理的な距離を測り、デジタルという死んだデータの中に、私の身体の痕跡をどう割り込ませるか。この展示を境に、私は写真そのものよりも、その先にある物質や時間について考え始めた。

"A photographic comparison showing two distinct framed mixed-media artworks lying side-by-side on a light-colored wooden floor. The piece on the left, identified as the 'First Prototype' of FRP sculptural photography, features a dark monochromatic portrait of a huddled figure on Japanese Washi paper, heavily overlaid with a glossy, imperfect layer of transparent industrial resin with intentional 'noise' like scratches and bubbles. To its right, a second, larger framed piece, a 'Second Prototype,' displays a different monochromatic portrait on Washi paper under a similarly textured and imperfect translucent resin finish, showing a figure in a lying position surrounded by subtle forms like white flowers. Both artworks have dark frames and show the deckled edges of the Washi paper."

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