Nature: bodies and flowers, poetic images, sinuous lines, pictorial views, shadows. Emotional close-ups in which all references to space and time are lost: the bent back of a woman’s body looks like the stem of a flower; the folds of the flesh look like the cavities in a lily; bodies and flowers are juxtaposed in an ideal confrontation in which there are no winners or losers. Ever-changing forms are fixed, congealed in absolute time.
Kenro Izu’s photographs are like the photo-pictorial experiments of the late nineteenth century, when the technique used was the daguerreotype.
With Izu we find ourselves before a virtuoso of manual printing who chooses to express himself in platinum and palladium prints, making photographs so intense and creative that we can recognise them as his work right away.
Nature: bodies and flowers, poetic images, sinuous lines, pictorial views, shadows. Emotional close-ups in which all references to space and time are lost: the bent back of a woman’s body looks like the stem of a flower; the folds of the flesh look like the cavities in a lily; bodies and flowers are juxtaposed in an ideal confrontation in which there are no winners or losers. Ever-changing forms are fixed, congealed in absolute time.
Kenro Izu’s photographs are like the photo-pictorial experiments of the late nineteenth century, when the technique used was the daguerreotype.
With Izu we find ourselves before a virtuoso of manual printing who chooses to express himself in platinum and palladium prints, making photographs so intense and creative that we can recognise them as his work right away.