Phase—Time – PhMuseum

The “decisive moment” is a fiction. I carve out time’s relentless circulate, stacking it right into a tower defying gravity. Yet, beside this monument of collected period, a void of equal depth is hollowed out—a pressure of presence and absence.

The “decisive moment” in images is a constructed fiction of human notion. Rejecting this, I assemble my very own actuality from the mundane, tedious panorama instantly exterior my window. Carving out the relentless circulate of time minute by minute, I accumulate it—redefining images not as a flat, instantaneous file, however as a bodily sediment of period.

Phase—Time is an ongoing undertaking that materializes the invisible idea of time into bodily mass. Over 24 hours, I routinely photographed the view from my window in Wakayama each minute, capturing 1,440 consecutive frames. Resisting the fast consumption of digital media, I manually extract every printed {photograph} into an ideal circle utilizing a compass cutter, stacking them alongside the Z-axis. As I erect a cylindrical tower (optimistic) in defiance of gravity, a void of the very same depth (unfavourable) is hollowed out beside it. The whole mass stays fixed—an absolute equal alternate of time.

As the layers surpassed 500, a profound materials transformation occurred. The delicate photographic paper mutated right into a dense, mineral-like mass resembling obsidian, whereas the excavated void started to perform as a lens—a “time tunnel” trapping and reflecting gentle. When the captured timeline descended into evening, the prints turned totally pitch black, amplifying the sheer weight and palpable actuality of nothingness.

Within this grueling, repetitive labor, an inevitable somatic glitch emerged. Physical fatigue from the guide chopping induced a microscopic 0.5mm deviation within the radius. By the 1,000th layer, this bodily noise—compounded by the structural limits of adhesive-free stacking—introduced the tower to the brink of collapse.

This distortion, born from the friction between mechanical automation and human intervention, manifested the physique’s unavoidable resistance; it grew to become the final word actuality of the {photograph}. The bodily defeat of my ego—my futile try to construct a Tower of Babel towards gravity—advanced the work from a monumental construction right into a fragile, sculptural archive. I ceased to be an architect dominating time, turning into merely an archivist accumulating its falling fragments.

The view from the summit of the tower isn’t any completely different from the view gazing into the void. Ultimately, Phase—Time shouldn’t be a mere exhibition of pictures, however a phenomenological equipment designed to bodily expertise the mass, weight, and texture of time.