RYO Kusumoto(b.1982, Tokushima, JAPAN) is an artist based in Kyoto, JAPAN. Ryo studied Evolutionary developmental biology at graduated school of Tokushima university. He worked for new drug deveropment about 4 years(2007-2010). Ryo got Yomiuri photo award 2009 fine work. He exhibited his work as a gallery recommended photographer from JAPAN in Seoul photo festival 2010. Since 2011 he became independent photographer. Currently as freelance, in addition to shooting for newspapers, website, magazines, he also produce company advertisement videographs, too. He got selected award of The 15th Hikoma Ueno award in 2014. And he was awarded the encouragement prize at the Yonosuke Natori photo award 2017 sponsored by Japan professional photographers society. He is interested in the universality seen in personal history, and while mainly making documentary approach. Each theme is related to "loss" at the root.
2018 “An another Renjishi" - Kayano-ke(Jyunkyo Oishi-Memorial hall), Wakayama, Japan
2017 “貌 -bow-“ - AMS gallery, Kyoto, Japan
2016 “貌 -bow-“ - be-Kyoto, Kyoto, Japan
2016 “Voice of Shakuson first period” - Ryosokuin, Kyoto, Japan
2016 “LIFE - awe of living several hundred years” - Laatikkomo gallery, Finland
2012 "Transition of Small Saterights after 3.11" - INSTEAP LIGHT, Tokyo, Japan
2012 “Re:3.11 monster quake in japan” - GalleryG, Aichi, Japan
2011 “Re:3.11 monster quake in japan” - Maruyamayushindo brush shop gallery, Osaka, Japan
2011 “Re:3.11 monster quake in japan” - spectrum gallery, Osaka, Japan
2011 “Re:3.11 monster quake in japan” - Tokkantei, Tokushima, Japan
2018 The 13th Yonosuke Natori award exhibition - Fukushima civic gallery, Fukushima, Japan
2018 The 13th Yonosuke Natori award exhibition - FUJIFILM, Osaka, Japan
2018 The 13th Yonosuke Natori award exhibition - FUJIFILM, Tokyo, Japan
2017 Futariten - Awa-bank plaza, Tokushima, Japan
2015 Art Short Boot 2015 - gallery Main, Kyoto, Japan
2015 The 15th Hikoma Ueno award exhibition - Higashikawa Bunka Gallery, Hokkaido, Japan
2015 The 15th Hikoma Ueno award exhibition - Tokyo Metropolitan Theatle, Tokyo, Japan
2015 The 15th Hikoma Ueno award exhibition - Museum of Kyushu Sangyo University, Hukuoka, Japan
2014 81lab×Cityrat-press exhibition - Shinsaibashi Athens, Osaka, Japan
2011 81lab 5th anniversary photo exhibition - Shinsaibashi Athens, Osaka, Japan
2010 Portfolio Exhibition vol.3 - Bloom Gallery, Osaka, Japan
2018 Kudoyama Art Week2018, Wakayama, Japan
2018 Photo Bangkok2018 RPS exhibition, Bangkok, Kingdom of Thailand
2018 Photobook/NZ RPS exhibition - Wellington Univ., Wellington, New Zealand
2017 7th Dali Internal Photography Exhibition - Japanese photo book corner- , Dali, China
2016 Kyotographie 2016 - KG＋exhibition -, Kyoto, Japan
2010 Seoul photo Festival 2010 - Coex Hall, Seoul, Korea
2018 Unseen Dummy Award 2018 shortlist nominated
2017 The 13th Yonosuke Natori photo award encouragement prize
2014 The 15th Hikoma Ueno photo award selected prize
2009 Yomiuri photo award 2009 fine work. And monthly fine work twice.
Publication and Appearing TV
2018 Osaka culture web magazine VOICE “An another Renjishi"
2018 ASAHI CAMERA “An another Renjishi"
2017 CAPA magazine “message from documentary photographer"
2017 Digital camera watch web news “Celemony of Yonosuke Natori photo award"
2017 70Seeds web magazine “Photographer Ryokusumoto"
2017 Tokushima News Paper "The 12th Ueno Hikoma award encouragement prize"
2017 JRT Shikoku Broadcasting TV GOJICAL “貌 -bow-”
2014 Sunday Mainichi Mar.1 “voice of picture -Documentary of sliding door picture in Ryosokuin-
2012 PHaT PHOTO vol.11-12 "PHOTOGRAPHER Osaka 100 Voices "
2012 LIVEonWIRE JOURNAL "Transition of small settlements vol.2”
2012 LIVEonWIRE JOURNAL ”flavor of Sanriku”
2012 LIVEonWIRE JOURNAL "Transition of small settlements”
2012 CHUBU-NIPPON BROADCASTING radio GOGOICHI! "Re:3.11 monster quake in japan”
2012 81Lab magazine vol.23 "Transition of small settlements”
2011 JRT Shikoku Broadcasting Radio DOYOWIDE "Transition of small settlements”
2011 JRT Shikoku Broadcasting TV GOJICAL "Transition of small settlements”
2011 The SANKEI News "Photographers activity for an entrance ceremony in Rikuzentakata-"
2011 81Lab magazine vol.21 ”comings and goings - KOHECHI -”
2010 81lab magazine vol.18 "Permanent ceasefire"
2010 81lab magazine vol.17 "JAKKOUSENI"
2009 81lab magazine vol.16 "merging borders”
When I was in University, I have mainly studied about molecular biology. The role of photographic technology in molecular biology research is to solemnly showcase facts. The rules of engagement are to clarify the dates, equipments and chemicals used in experimental processes to dye and, to add to the restrictions, making revision in exposures is not even allowed. But when the visual recreation and clarification are out in the eyes of the public, they are to be treated as one of uncountable stones accumulated to form a massive pyramid that is the mystery of biological phenomenon.
The portable digital devises available today enable us to capture the surface of our daily occurrences. Yet it seems ironic that the easier the sharing process of imagery becomes, the smaller or less effective the margin to serve as buffer zone becomes. In other words, the amount of information may seem to present more options yet in reality end up giving comfort zone to cage oneself in very limited interests.
I’m interested in ridiculously personal history. I’m interested in a resulting self of somebody who’s path in life must have been drastically different from my own with information I never had chance to encounter. It is impossible that I to go back in time and re-live somebody else’s life. Even if I engage in listening, understanding and visually recreating somebody’s experience despite the fact that I wasn’t present at the initial occasion simultaneously to control the circumstances, it wouldn’t be a pure representation of the facts that occur without my presence. Instead, it is possible to create an expression to spark associations and imaginations in and of themselves.
Detaching from what is photographed enables us to go beyond in time and space, thus to associate and imagine similar form and phenomenon. I suspect there may be a hint to universality in alternative route apart from simple and clear presentation of the facts.
I’m in my phase to focus on where we are standing in order to capture a moment that gives us a go to look forward only few steps ahead.
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