Muga Miyahara Dialogue, Part 1: Perception and Shosa for Creators

:
Hello.
Today is a photographerYumega MiyaharaWe welcome you.
First of all, I will introduce you to Miyahara.

A wide range of activities by photographer Yumega Miyahara

Miyahara:
Hello. Miyahara Yumega
I am a photographer, and I am also working on a movie cameraman, and I am working on a wide range of activities such as magazines, advertisements, TV commercials, and music videos.

In addition, we are also doing a little art activities, and we are doing solo exhibitions taken by private lifework in Japan and abroad.

:
Thank you. In fact, I and Mr. Miyahara are about 10 years old. 10 years ago

Miyahara:
That’s right. There was a coincidence meeting that Mr. Kikuchi lived in the apartment next to where I lived.
I didn’t know that Kikuchi lived next to me.

Kikuchi-san was a tavern that I often visited.

It is the first meeting that Mr. Kikuchi came up and turned to the toilet when he thought to go to the toilet, and he came back from the toilet while hula.

Kikuchi is nearby. I walked back with my friend’s son Kikuchi.

When I say exactly, I was responsible for Mr. Kikuchi who was drunk.
I was surprised that I was living next to my home.

:
There was a meeting of surprises, and I came to talk with Miyahara. It is very nostalgic and I feel it.

I don’t know how to drink in the early 20s.
The Izakaya was very comfortable, and there were many people in the industry.

Miyahara:
I think there are many people who know the name.
Izakaya was a place where creators gather.

:
That’s right. Miyahara’s office is also located near the Izakaya, and we have been playing with Miyahara’s office several times.

It was very big for me because I consulted about the road that I want to go and photograph.

Miyahara:
Yes.

:
Miyahara’s style of work felt like the beauty of Japan, and the way of thinking by things, which is not in Europe, who experienced overseas, was very 。.
I thought it was amazing to see the work, and I thought that I would like to make my own painting as a personality, and I would like to become a person like Miyahara.

Japanese aesthetic consciousness that influenced Kikuchi

Miyahara:
When I talked with Mr. Kikuchi, I thought there were many common sections, but Mr. Kikuchi was doing ge training.

I started working as a fashion photographer in a Japanese magazine since the late 20s, and when I was doing fashion in Japan, I had a long time in such a magazine such as Vogue and Harbors Bazaar in emerging countries.
It seems that the fashion photographers of the countries have taken pictures. So when I was in my 30s, I felt the limits and I felt the same as they were.

I thought I would like to go to Kyoto when I thought it would be necessary.
So, once a month, I went around various temples and shrines in Kyoto to see the architecture, see the garden of Mt. Fuji water of the Zen temple, how the temple tree is built, and how to incorporate the light of the building.

I thought I would like to learn about the of the other people, and I went to Kyoto. As you travel around various temples, Kyoto’s “Hexagon-do Choho-ji Temple” is the home of Ikebo, which is a flower, but you can meet such places, and then the world of tea, the world ofFlower thousand houses, flowers.
I learned about the teacher for about 7 years, but I found something like Japanese culture and Japanese identity that I did not touch before.

I think that the old people naturally dyed the body, but now I can’t get it if it is active. I would like to make use of such things in my future photos.
It started to work in the late 30s. When I met, there was a part where Kikuchi-san was also researched, “work” and such things were so sophisticated, so there was a point that it fits very much as a common section of the story.

:
That’s right. From the works of Mr. Miyahara in Japan, for example, it was between the floor, and the flowers were also done by myself, and the beauty of that extra whiteness is also in sur, but it is not only beauty, it is also combined with one species, ugly. I think that these things are Japanese.

I think that there are many things like humans and flowers in the photo, but how do you decide the motif?

Philosophy

Miyahara:
My father was an art director.
It is a person who feels like a “master” who belongs to the directors club that has been involved in the advertising industry in the 1970s and the 80s.
I learned a lot from my father. ‘

I know later, but there are both poisonous essences in beauty. That’s why we are coexisting in a single screen.
I felt that it is connected to the impact of one picture.

*Oposit: Reverse Positive Meaning

After that, da Vinci writes something that stands out in the writings he wrote: “It’s just a beautiful one.” “Oh,” when you read a sentence that has a word and has a poison in the beautiful, and stands out for its beauty. I see. I thought that my father taught me the same thing.

In a thin word, there is a word that the beautiful rose has a toggle. Like that, when we pursue the beauty of something, it is not just beauty, there are turbid things behind it, it is poisonous, and it is mixed in one picture. It may be a characteristic of my work.

:
When did you think of the beautiful thing and put it into the work?

Miyahara:
Comment I used only beautiful things when I was doing something like a pursuit of beauty.
However, I felt that I didn’t understand something.

For example, if you look at a temple built in the Kamakura period, which was often spoken in Kyoto, it was beautiful, very sophisticated, it was a temple of sashimi, it was a garden of sashimi, and it was very modern, simple and beautiful.
Even if it is a pillar, it is one tree. There is a mix of texture. I feel that beauty is coexisting with such things.
I feel that this is something that can be expressed as a Japanese, maybe it cannot be expressed by overseas people.