Pari Ehsan at Tara DonovanPopular fashion blogger Pari Ehsan, also known as @paridust, does a photo shoot among the installations of Tara DonovanThe exhibition, featuring monumental new sculpture by the artist, is on view at 534 West 25th Street through Saturday, June 28. Stop by, snap some photos, and share your images with us! Instagram: @pacegallery.


Seen: 木綿の影 / Cotton Shadow

Who: Tomona Hayashi 

Where: 3rd District Gallery, Shinjuku

When: February 23 - March 8, 2015

The evolution of Hayashi’s work is apparent with even a cursory glance at the sample images from her previous shows at 3rd District since joining the gallery in 2013- Her latest show, Cotton Shadow, carries on with her continual focus on smaller transitory moments. The faces of others are save for one shot of a child on her father’s shoulders, mostly unseen if not avoided intentionally.  The normality and familiarity of the subjects themselves are subverted through her lens and film.  There is little that’s clear in the sense of it being a separate entity from anything else- the continuation of mood through the show is certainly partly due to her Hexar’s lens and Tmax film- but more importantly through the tone of the phenomena she focuses on. 

Hayashi has been experimenting with exhibition methods- she started out with traditional 11x14 prints in mats-  but has branched out into a variety of print sizes in recent shows.  This exhibition consists of seventeen large 800×600mm fiber prints that she made in her darkroom/apartment. Under the safelight, each sheet was first taped to the wall in preparation for exposure- something possible with her enlarger head tilted 90 degrees and pointed towards the wall. For development she filled large plastic storage bins with chemistry and hand rolled each print through the process- something that resulted in about three or four prints a day, she told me. Each print has a slight (and inevitable) curl from being pinned to the wall- it’s a slight physicality of silver-print photography that suits her work well. 


Seen: 事物の事日記 2014.1-12  A Diary Of Things, 2014.1-12

Who: Yoshihito Muta

Where: 3rd District Gallery, Shinjuku

This is the tenth part of Muta’s ongoing diary series he’s been exhibiting in this gallery since 2008. Per usual, it’s a selection of photographs taken with his Konica Hexar, with the images ordered chronologically according to the date imprint. This show carries the subtitle 2014.1-12- - denoting the fact that these were taken between January through December, 2014.   It’s a fine show- naturally there are some real great snaps that can be spotted in the line of prints pinned to the walls- but to approach this show (or any collection of more than two photographs) with sole intent to find the “good” ones would be missing out from the bigger picture.  

The flow of time is apparent in this show, as are his travels. Included are a few shots from his trip to Burma last June. You can see an extensive selection of samples of Muta’s past exhibited work by clicking on any of the exhibition titles (in Japanese) on his profile page, and then clicking again on the single sample image that you find for each show. 


Showing: 随写 / Zuisha vol.9

Who: me

Where:  Totem Pole Photo Gallery in Shinjuku (map)

When: Jan. 13th - 25th, open 12 - 7pm (closed mondays)

This is my sixteenth solo exhibition in Japan since 2005- that might sound high but the bulk of those shows are from this ongoing series.

Once again, twenty 11x14 fiber prints line the walls of the gallery with each picture denoting a distinct point along a path that’s pointed out by my camera. 

"Every photo shoot, art exhibit, fashion studio and creative space I walked into since 2010 happened to be playing the same record. From Cape Town, South Africa, to London, U.K., to Vancouver and Berlin, this young Canadian artist seemed to be swiftly infecting young urban creatives across the board … teasing the inner sinner, sensually dangerous escapism for the masses. House of Balloons, by Canada’s own young and sensitive provocateur, the Weeknd, is undoubtedly worthy of a place at the grownup table." Zaki Ibrahim

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