
MASAO YAMAMOTO
BONSAI MICROCOSM MACROCOSM DELUXE EDITION
Published by T&M project in 2019
Numbered, limited edition of 10
Box 10/10 edition
Box includes:
Wooden box made by Japanese craftsmen
Certificate
Bonsai Book (signed)
4 toned gelatin silver prints (hand printed) of the Bonsai series
All 4 wrapped in Japanese textured paper
Design: Yuta Nakajima Box made by Hiroaki Ichige
This print is made ONLY for the Deluxe Edition
Like a Bonsai, this box is a miniature and beautiful way to access Masao Yamamoto's inner world.
Bonsai embody several contradictions. They are natural objects forced into artificial shapes. They obey the will of their owner yet decide their growth freely. They take years to cultivate yet require daily attention. In “Bonsai – Microcosms Macrocosms”, photographer (and trained oil painter) Masao Yamamoto captured the beauty bonsai – these essential Japanese objects – in fascinating, sepia-colored images. Utilizing different backgrounds (like the famous Mt. Fuji), techniques and styles, Yamamoto looks at each of the trees in his photos with care and respect, accentuating their dual presence as artificial objects and fragments of nature. The book concludes with an essay by bonsai artist Akiyama Minoru (in Japanese and English translation).
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Bonsai embody several contradictions. They are natural objects constrained to artificial forms. They obey the will of their owner but freely decide their growth. They take years to cultivate but require daily attention. In “Bonsai – Microcosms Macrocosms,” Masao Yamamoto has captured their beauty – these essential Japanese objects – in fascinating sepia-toned images. Using different horizons (such as the famous Mount Fuji) as different techniques or styles, Yamamoto treats each of the trees in his photographs with care and respect, emphasizing their dual presence as artificial objects and fragments of nature. The book concludes with an essay by artist Akiyama Minoru (Japanese and English translation).