Shin Terada:
sensuous and spiritual impression

Most of the photographs that flood the urban visual imagination are simply beautiful things in focus. These are commonplace photographs, taken by the amateur and lacking in internal motif. The camera takes the picture automatically by pressing the shutter. Art by Shin TeradaAnybody can take a picture easily and capture the subject that is in front of the camera lens on the film. The whim of the amateur photo, then, fails to make an impression on the people's heart, the photograph does not express profundity.

When I photograph I want my eyes to breath in synchrony with the image. In photographing a flower, I feel the breathing of life of the flower and I take an instant brightness of its life. In other words, I seek to capture the "poetry" of the motif in the instant of its appearance. An artistic work is born only after I connect with this motif directly, utilizing the barrier of the camera's lens. The quality of the photograph depends on the photographer's skilled eyes ¨C the photographer must have an acute sense of the width, size, area and depth which the motif embodies and must pursue its worth.

In respect to paintings, the painter's subjective composition and idea will become a motif of his work. However we (photographers) cannot make a photograph subjective in this way, and must in fact have our subject present before the lens. Thus I show my impression mechanically and technically with the image I capture. (High-class cameras with expensive lenses and excellent film do not necessarily make a good photograph. Good photographs are not in the camera-mechanism but in the camera-user.)

I am always watching the world through the finder; to me, it is tiny in size, 10mmx20mm, and alive in the shutter's instant of 1/250 seconds. In Art by Shin Teradathis space, I seek the good photograph, which stimulates both sensuous and spiritual impression.

While we are spending much energy on seeking only profit in the capitalistic society, the world is going to lose the humanity and we are going to forget something. The object of my lens is one of its something. It is an emotion such as warmheartedness, nostalgia, sweet taste, austere refinement, quiet simplicity and calmness. An emotion is not in the head. It is born and is planted in the heart. During our life in this brutal world, we have put a heavy lid on this precious emotion. Then, I try to force the heavy lid open to find the human tenderness and warmheartedness in the mind by the photograph. I try to open the lid of mind with the motif shot from the view of the stillness rather than movement, of the inside rather than outside, of the spirit rather than appearance, of the side rather than front, of the suppleness rather than integrity and of the tension rather than relaxation.

In order to open the lid, the motif has to be "the beauty" that makes an impact on the heart. We need the thinking power to understand "the beauty" of the photograph made by some artificial stage effect, which will be the same beauty as "art". It is not allow to think for the impressive beauty. The photograph under the maximum removal of any artificial stage effects impresses the heart. Accordingly, my work is required the maximum removal of any stage effects.

The art kept in the memory of brain cell will be forgotten someday, but I believe that the photograph impressed directly in the mind through not the thinking circuit but the optic nerve will be engraved in the memory forever and opens the heavy lid.

Photography by Shin Terada

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