Directing
The Kazuo Shinohara–designed "House on a Curved Road" was the home of my father, Shirouyasu Suzuki. After my father and mother passed away and the rooms were cleared, only light moves within my memories. By capturing this wavering light, the work is an attempt to grasp how the foundation of private expression exists through changes in the external world.
A boy rescues a girl who has collapsed in a river, from their exchanges and memories a tale of loneliness and meaningful connection gradually unfolds.
In April 2000, I started photographing Koichi Ebitsuka's works. Mr. Ebitsuka was a teacher at Tama Art University, and he happened to be appointed concurrently to the second department of art, where I work, and we became close. He was born in 1951, so he is 16 years younger than me. I wanted to think about and experience the "contemporary art" that I hadn't been to. And he, being selfish, visited his atelier and was shown around his works on an island in the Seto Inland Sea. For me, the year 2000 was a year of Ebitsuka-san's sculptures.
Shirouyasu Suzuki's first short films shot on 8mm.
In the summer of 1975 I went to a farmhouse in KINASA Village - Nagano with my best friend Toda's family. Summer vacation sketches with a sense of intimacy. The main focus is on talking about the hearts of urban people who are attracted to nature, such as the color of flowers, the beauty of sunlight through the forest, and the fire of the colors. Music borrowed from Western album.
In this work, I visited a religious scholar, Shinichi Nakazawa, with the question, "What does 'gazing' mean to people? At the time, he was interested in Japanese ethnic religious beliefs by going to winter festivals, etc., and thought that a view of life as a series of rebirths was cultivated on the basis of a life based on farming. Here, I believe that "looking" provides an opportunity for the mind to be reborn. Created in 1983. The artist was 48 years old. (Suzuki Shiroyasu).
This work was made as a "myth" with the poet Nejime Shoichi as the main character. Nejime Shoichi, who aims to be a reading poet, rides a train to visit senior poet Iwao Abe and asks for the secret of reading. Nejime Shoichi is good at being "naked".
I went out of the room and chose two poets as "objects". One is Harumi Kawaguchi, who worked for a trading company at the time and was a dealer for buying and selling yen and dollars. The other is Toshiharu Kishi, who raises and lives dairy cows deep in the mountains of Yamagata. I sketched their lives and had them read their own poems.
The year before, I had made a film about the poet Tsutomu Shotsu, and I wanted to make a film about Hiromi Ito, a young female poet on the rise. As I was talking with her, she told me that she loves to pull out hair, and when I asked her about it, her story touched on the sense of life. I decided to film her talking about it. She said that when she pulls out her own hair, she gets excited because she is aware of both herself pulling out and herself being pulled out. Skin is a problem, she said. As I was filming, I was surprised to find that her story had become a great theory of the body. For the introduction, I borrowed a song by Hikashu. Produced in 1981. The artist was 46 years old. (Suzuki Shiroyasu).
A woman is talking on her cell phone. A man's hand reaches out to her and tells her to snap the phone. The woman says, "Shut up and hit the man. The woman hits the man, saying, "You're always talking on the phone like that, living off the support of others. I'm on my own. The way you live is the problem. The man says. In fact, the man tries to have an affair and gets dumped. I thought the story would go like this, but it didn't go at all. This film was made based on a film shot in a seminar for fourth-year students at Tama Art University. The actors were students who participated in the seminar. They wanted to make a film about a story, so I asked each student to tell a story, which I transcribed, made into a scenario, and filmed them acting and talking. Rather than creating a "story," the work was composed of everyday scenes, with the idea of a "story" in mind. I have just begun to think about stories that make time. (Suzuki Shiroyasu).
A diary film composed by images where the director, after buying a CineKodak 16 (a pre-war 16mm camera) at a second hand camera shop, starts filming his wife, his newborn baby and his workplace.
In this 16mm work Shiroyasu Suzuki made himself the subject and tried to create a film based on his own image. However, once he started filming, it became clear that his image was nothing more than a camera fetish. Then, realizing that he must expose his empty self, he begins to think about making "15 Days".
miniDV diary film by Shirouyasu Suzuki.
Heat and moisture can puncture and create cracks in solid pipes, and depict the emotion of accepting nature. The inside of the pipe is said to reach temperatures of several thousand degrees. This also burns the roots of the hard heather that the pipe is made of. Also, grease accumulates inside the pipe, absorbing water and creating cracks. The music used was recorded from shortwave broadcasts.
Forcing himself to confront his own 16mm camera each day for over two weeks, Suzuki Shiroyasu initially seems to regret his own idea and indulges in very recalcitrant behaviour. Not until halfway through the project does he address the camera more candidly and start to question his own identity, as well as his relationships with his own milieu and other social structures.
This work is a day and night time-lapse film of the sky over the course of one year from July 1, 1988 to June 30, 1989. At first, the house next door had been demolished and was going to be rebuilt, Suzuki then decided to take a time-lapse photo of how the house was going to be built. However, while shooting, the movement of the clouds amazed the filmmaker who became more interested in capturing them. In September, Emperor Showa fell ill and was reported to be in critical condition, this inspired Suzuki to shoot "the last sky of the Showa era".
The filmmaker bought some daffodil bulbs and took time-lapse photos of them growing buds and blooming. An ode to their vitality. Humans too extend their lives in ideas. The mysterious 18th century French architect LEQUEUwas obsessed with genitalia and tried to bring that structure into his architecture. Ideas and things.
This work began when the filmmaker noticed buds sprouting on a dead branch. He realized that "the dry mountain is actually covered with buds". The story revolves around the way the number of objects appears. Three young women perform in order to create the atmosphere of feeling life in the breath of plants.
White roses and orchids. Each bloomed beautifully like a queen. Its shape speaks of beauty. In other words, the shape of each lower is a word standing for human desire. The work unfolds as the view changes in the garden from summer to winter.
Short 8mm film by Shirouyasu Suzuki.
