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Tag: Kensuke Koike

  • Photographers on Photographers: Su Ji Lee in Conversation with Kensuke Koike – LENSCRATCH

    Photographers on Photographers: Su Ji Lee in Conversation with Kensuke Koike - LENSCRATCH

    Photographers on Photographers: Su Ji Lee in Conversation with Kensuke Koike – LENSCRATCH

    “If I have many ingredients in my refrigerator, I can cook everything I want. But some ingredients may never be used. If I find only a carrot inside, I must cook it in the best way possible by chopping, grating, roasting, boiling, frying, drying, etc. With many ingredients I would probably never discover that the

    via LENSCRATCH: http://lenscratch.com/2022/08/photographers-on-photographers-su-ji-lee-in-conversation-with-kensuke-koike/

    How does one come across non-archival photographs? There are boxes and boxes of strangers’ faces ready to be picked up in antique stores, flea markets, or even weekly garage sales. Though they might have been forgotten by one, it never goes discarded through Koike. With additive motion and revealed subtraction to the found images, strangers tend to warp, mutate, or remobilized. When I first came across his works in my freshman year of college, I was in awe to witness his treatment of guiding the viewers into possible lifeforms of still strangers, introducing a new paradigm to image appropriation. Through Photographers on Photographers interview, I had the pleasure to take a peep behind his curtain, a tricky visible world.

  • Juxtapoz Magazine – Kensuke Koike: Nothing Added, Nothing Removed

    [contentcards url=“https://www.juxtapoz.com/news/photography/kensuke-koike-nothing-added-nothing-removed/”]

    Juxtapoz Magazine – Kensuke Koike: Nothing Added, Nothing Removed

    Whether Kensuke Koike is tearing an image to pieces, or neatly shredding it into tiny ribbons, there is precision in his method. The mad scientist, a Dr. Frankenstein carefully dissecting and reassembling the bodies of the dead, he creates new life from neglected images. Seeing bounty in the abundance of discarded ephemera, Koike rescues photographs, postcards, and other spurned items he finds at flea markets and brings them home to be reimagined and reanimated in his laboratory. “I deeply believe,” he says, “that every image has the possibility of having a new birth.” The artist refers to this work as Single Image Processing because there is only one rule: nothing can be added or removed. Anything else goes. “The rule is not a lifetime rule, of course,” he explains, “but sometimes, instead of going the easy and secure way, working under a very restricting rule can open another approach.”