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物質の発光現象を利用した科学捜査写真を、硫黄島の日米戦闘現場で鑑識専門家の助言のもと撮影した。島は民間人の立入が制限され、現場はほぼ当時のまま残る。日本兵が潜んだ地下壕の中を特殊光源で照らすと、肉眼で見えづらい金属片、燃焼痕などが可視化された。地面に落ちる手榴弾や無数の弾痕、ヤカンや眼鏡を追うと、当時の人々の動きが目に浮かぶ。しかしそれら物証は確かに個人の行為の結果だが、一体誰のもので、何の帰結かという問いは75年の時の壁にはじき返される。痕跡の状態や戦闘記録・生存者の証言で推測はできるが、確信は持てない。かつて・そこであった生々しさは年月とともに風化し、元の文脈から切り離された影として、ただそこに在る。

島を通り過ぎた無数の人々が刻んだ跡は、まるで古代の洞窟壁画のように、今の私たちにとって本当の意味は不確かだ。途方に暮れて、私は痕跡一つひとつの微妙なニュアンスをなぞり繋げながら、私なりに「他者という謎」にまつわる物語を立ち上げた。

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I did forensic photography using the luminous phenomenon of the material at Iwojima island, that was the US-Japan battlefield during the WWII. As the access of civilians to the island is restricted, the scene remains almost the same. When I illuminated the underground trench, where Japanese soldiers lurked using a forensic light source, I could see the metal pieces and burning marks that difficult to be seen with the naked eye. Following the hand grenades falling on the ground, countless bullet holes, kettles and glasses, I could trace the movements of the people at that time. However, these material evidences are certainly the result of individual actions, but the question of who they belong to and what was behind it bounce me back to the 75-year history barrier. I can make my suggestions basing on the state of traces, battle records, and survivor's testimony, but this can’t be clearly stated. Once upon a time, the rawness that existed has weathered over time and exists as a shadow separated from the original context.

The imprints of countless people who passed through the island are left uncertain for us today, like ancient cave paintings. Being puzzled on this matter, I kept tracing the subtle nuances of each trace and set up the story of others in my own way.

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