• SAITO Sadamu

    CAREER1948
    Born in Nagano, JAPAN
    1972
    Graduation of the Department of Photograph at the Kuwasawa Design School
    1990.3
    Retirement of the Visual arts technical officer at the University of Tsukuba
    1990.4
    Establishment of Workshop “S+A” (as a free-lance photographer)

    PERSONAL EXHIBITIONS:
    2004.8
    “The scents of sweet cage” Contemporary Photo Gallery, Tokyo
    2000
    “Last Details” Creative House AKUAKU, Tsukuba, Ibaraki
    1996.2
    “Vegetation1996” Plaza Gallery, Tokyo
    1989
    “TRANSIT ZONE” Gallery FROG, Tokyo
    1988
    “Incomplete City-Space” PS Gallery, Tokyo
    “Transient + Incomplete City-Space” Tsukuba Expo Center, Ibaraki
    1986
    “Show-The research academic city Tsukuba” Creative House AKUAKU, Tsukuba, Ibaraki

    GROUP EXHIBITIONS:
    2007.8-10
    “The Sense of Collapse” The National Modern Art Museum, Tokyo
    2006.7
    “retrospective 1998-2006” epSITE Epson Imaging Gallery, Tokyo
    2003.1
    “Photo 2003” Tsukuba Museum of Art, Ibaraki
    1999
    “OTSUJI Kiyoji and 15 photographers” Gallery of the Tokyo Zokei University, Tokyo
    1998
    “Photography today : the absence of distance” Film Center of the National Museum of Modern Art, Tokyo
    1990
    “20×24 inches Polaroid camera photograph” EXPO’90 Photo Museum, Osaka
    1987
    “Photo and Solid” in the Couple of shows. G-Art Gallery, Tokyo

  • The Sights of Absence part II

    Photograph

    91.0×136.5cm ×3pieces
    32.9×48.3cm ×6piece
    21.0×29.7cm ×4pieces

    When Sarin (crab) died, my daughter cried and made the grave,
    Blacky (male cat) had trusted me since a certain incident,
    Grey (female cat) always hated me after I pulled the dead kitten out,
    Jiji (male dog) died of severe canser, with my wife by his side.

  • Observation Wheel

    Photograph

    110×90cm ×2pieces
    90×110cm ×1piece
    60×110cm ×4pieces

  • In the light

    Photograph

    80×80 (h)cm x12 pieces

    In this exhibition, which keeps changing the area and spaces where the works are shown, the place I chose was a space that had long given me a feeling of darkness.
    I brought artificial light into that place. It is the decorative light of a pachinko hall, the mercury light of a golf driving range. The grass and the rainwater are together stained red, and the trees are green, sucking the sunlight. The faces of three generations of women take on their own forms.