2021
SIGNS AT THE END OF TIME
Unique c-print photogram (sunlight, traffic sign), metal frame, burnt traffic sign, metal pole
Installation: 120 x 64 x 120 in. (24 of 16 x 20 in. prints)
Signs at the End of Time encapsulates an evocative visual exploration, employing cameraless photography techniques to delve into the existential specter of nuclear threat intertwined with the echoes of Cold War Hysteria. Through the absence of explicit language and the utilization of semiotics, this body of work delves into the subtle yet profound language of signs and symbols, illuminating the latent dangers embedded within our societal pathways.
At the heart of this series lies the potent symbolism of the dead end sign—a semiotic emblem of danger and an allegory for both visible and invisible threats. The project symbolically mirrors the perilous trajectory of our world's nuclear predicament, offering warnings shrouded in the innocuous yet foreboding nature of these signs.
The prints captured through cameraless photography techniques evoke a haunting emptiness, devoid of explicit textual warnings. Instead, they emphasize the shape and symbol of the seemingly innocuous dead end sign, serving as a metaphor for the looming dangers that transcend the visible, resonating with the metaphorical precipice upon which our world teeters.
The blankness of these signs acts as a visceral warning, echoing the silence that often precedes calamity. This visual emptiness and innocence serve as a potent reminder of the invisible peril that lurks beneath the surface—a harbinger of impending danger and a plea for vigilance.
Signs at the End of Time invites you to engage with the language of symbols and the subtleties of semiotics, urging contemplation on the precarious trajectory of humanity. In a world seemingly hurtling toward an uncertain future, these prints offer a sobering reflection on the existential threats that encircle us.
Through this visual narrative, I aim to evoke introspection and spark conversations about the complexities of contemporary societal issues, urging us to recognize the silent warnings that punctuate our collective journey and contemplate the urgent need for collective action and vigilance.
2021
SIGNS AT THE END OF TIME
Unique c-print photogram (sunlight, traffic sign), metal frame, burnt traffic sign, metal pole
Installation: 120 x 64 x 120 in. (24 of 16 x 20 in. prints)
Signs at the End of Time encapsulates an evocative visual exploration, employing cameraless photography techniques to delve into the existential specter of nuclear threat intertwined with the echoes of Cold War Hysteria. Through the absence of explicit language and the utilization of semiotics, this body of work delves into the subtle yet profound language of signs and symbols, illuminating the latent dangers embedded within our societal pathways.
At the heart of this series lies the potent symbolism of the dead end sign—a semiotic emblem of danger and an allegory for both visible and invisible threats. The project symbolically mirrors the perilous trajectory of our world's nuclear predicament, offering warnings shrouded in the innocuous yet foreboding nature of these signs.
The prints captured through cameraless photography techniques evoke a haunting emptiness, devoid of explicit textual warnings. Instead, they emphasize the shape and symbol of the seemingly innocuous dead end sign, serving as a metaphor for the looming dangers that transcend the visible, resonating with the metaphorical precipice upon which our world teeters.
The blankness of these signs acts as a visceral warning, echoing the silence that often precedes calamity. This visual emptiness and innocence serve as a potent reminder of the invisible peril that lurks beneath the surface—a harbinger of impending danger and a plea for vigilance.
Signs at the End of Time invites you to engage with the language of symbols and the subtleties of semiotics, urging contemplation on the precarious trajectory of humanity. In a world seemingly hurtling toward an uncertain future, these prints offer a sobering reflection on the existential threats that encircle us.
Through this visual narrative, I aim to evoke introspection and spark conversations about the complexities of contemporary societal issues, urging us to recognize the silent warnings that punctuate our collective journey and contemplate the urgent need for collective action and vigilance.
© 2023 by Kei Ito.
Created on Editor X.
Sungazing
2015 - Ongoing
108 of 8”x10” prints, Scroll: 12” x 150’ to 220’ depending on the edition
On August 6th 1945, at 8:15 AM, my grandfather witnessed a great tragedy that destroyed nearly everything in Hiroshima. He survived the bombing, yet he lost many of his family members from the explosion and radiation poisoning. As an activist and author, my grandfather fought against the use of nuclear weaponry throughout his life, until he too passed away from cancer when I was ten years old. I remember him saying that day in Hiroshima was like hundreds of suns lighting up the sky.
In order to express the connection between the sun and my family history, I have created 108 letter size prints and a 200 foot long scroll, made by exposing Type-C photographic paper to sunlight. The pattern on the prints/scroll corresponds to my breath. In a darkened room, I pulled the paper in front of a small aperture to expose it to the sun while inhaling, and paused when exhaling. I repeated this action until I breathed 108 times. 108 is a number with ritual significance in Japanese Buddhism; to mark the Japanese New Year, bells toll 108 times, ridding us of our evil passions and desires, and purifying our souls.
If the black parts of the print remind you of a shadow, it is the shadow of my breath, which is itself a registration of my life, a life I share with and owe to my grandfather. The mark of the atomic blast upon his life and upon his breath was passed on to me, and you can see it as the shadow of this print.