(By Gary Edwards) >> English

「大庭みさこは、日本やニューヨークでテレビ局アナウンサーとしてのキャリアを去った後、私生活でのいくつかの苦難に続いて、その後ニューヨークに移る機会を得、写真作家・アーティストとして新たにスタートを切った。初期の作品シリーズ「El Camino」や「Fireflies」
は、東京やパリ、ニューヨーク等の都市を、神秘的かつ抽象味を帯びた独特な解釈で表現し、それらが写真界で重要な関心を集め始めていた2006 年、彼女はまた新たな悲劇̶に直面する。右手小指がAVM(動静脈奇形)という稀な自然出血症状に見舞われた。日本に家族を残したまま、米国での度重なる医療処置と最終的な小指切除手術の決断に迫られる中、大庭の「FAUSTUS」シリーズは、一見私的なものに見えるが、勇気を持って恐怖と「喪失」に向き合い、人間として誰にでも起こりうるもっとも基本的な物語を探求した普遍的なドラマである。(略)彼女が並外れた能力と勇気を持った芸術家でなければ、このトラウマは単に本人や親しい友人・家族の内だけにとどまっていただろう。私は大庭のアート全てが、ある意味、一握りのアーティストだけが持っている、自分の感情や魂の状態を鋭く洞察する力を反映していると信じている。」
大庭みさこ写真集『FAUSTUS』あとがき –
イリー・エドワーズ より一部抜粋

 

ゲイリー・エドワーズ(写真画廊ディレクター Gallery director)

 >> Japanese 日本語

“Since photography appeared in the 19th century, photographers began actively attempting to make self-portraits, which before this period, was mainly the purview of painters. However, I believe that the way photographers make self-portraits is somehow different from the ones that painters make. Painters tend to seek and explore a “unique-self” centripetally, so to speak. On the other hand, artists using photography usually strive to separate and break themselves down at each stage in multi-dimensions at first, and as time goes by, they would accept the transformation
of themselves as the way it is, and record them in photography without idealization.

It can be said that Misako Oba’s photographic series FAUSTUS is also descended from the shared ancestry of the experiment of self-portraits by such artists. […..]

In the wake of the abnormal bleeding from her little finger, she experienced one after another, the stages of ‘fear, sadness, anger, confusion, conflict, despair, and even acceptance, hope, and joy.’

What is unique about her FAUSTUS project is that she continued photographing scrupulously over time the large physical shift, as well as the mental and emotional
fluctuations. In the meantime, she also photographed the drawings made with her own fresh blood, and the notes with trembling characters written by her shaking hand.[…..]  by viewing those images that were recorded over the course of the process, I came to feel her physical pain and emotional shakes. This is a shared solidarity with the personal, unique points of others. More or less, it would be quite possible for us to fall into a similar situation in our lives.

By presenting her story in the form of a self-portrait, Oba seems to be attempting to share her experiences, such as agony and hope, as a more openly universal story, instead of making it an isolated personal incident. Her attempt seems to be admirably successful.”
Some quotes from commentary titled
Sharing of Agony and Hope,
by Kotaro Iizawa (Photography critic) on Misako Oba’s [FAUSTUS]

Photo Critic Kotaro Iizawa