A Scene - Still Life with Fruit, Oysters and a Porcelain Bowl

Concept

　Mami Kosemura is a contemporary artist who explores the confluence of painting, video, and photography through photography and animation, referencing classical European motifs and traditional subjects such as Japanese painting. Her early works revolved around video works that could be described as "still life paintings in motion," in which she used stop-motion techniques to record still life on a table over an extended period of time; the act of reproducing the simulated space depicted in a two-dimensional painting in three-dimensional real space and continuing to watch the changes in that space is a form of camera-assisted The act of reproducing a simulated space depicted in a two-dimensional painting in a three-dimensional real space, and then continuing to watch the changes, is what we might call "copying a painting. She then developed the experience she gained by copying the paintings into a video installation and a photographic work, and continued to ask the questions "What is painting? What is seeing? and "What is seeing? In recent years, she has been creating concise and sharp works with more diverse time expressions and structures, such as video works using slow-motion photography, photographic works that condense long-lasting phenomena into a single photograph, and picture scroll-type and sequentially numbered photographic works that fall between paintings and video works. By vividly recreating the false and idealized pictorial world of classical painting, Kosemura exposes the fragility of human assumptions and social conventions, and the dynamics of their disappearance reflect an aesthetic sense of impermanence. Mami Kosemura is a contemporary artist who uses photography and animation to explore the confluence of painting, video and photography, referring to classical European motifs and traditional subjects. Her early works revolved focused on video works that could be described as The act of reproducing the pseudo- The act of reproducing the pseudo- space depicted in a two-dimensional painting in a three-dimensional real space and continuously watch- ing its transformation is a kind of replication. Afterwards, she developed the experience she gained through those early experiments into a video installation and then photographic work. Then, she has developed her work to reflect her own perspective on the question, "What is painting? In recent years, she has produced a series of concise and perceptive works with a greater variety of time expression and form, including video works using superimposition. In recent years, she has produced a series of concise and perceptive works with a greater variety of time expression and form, including video works using super-slow-motion photography, photographic works that compress long duration phenomena into a single Her work exposes the fragility of human assumptions and social conceptions by vividly recreating the Furthermore, the dynamics of disappearance reflect an aesthetic sense of impermanence and the aesthetic sense of the world of classical painting. Furthermore, the dynamics of disappearance reflect an aesthetic sense of impermanence and imperfection.