PGI
Azabu-Juban
TKB Bldg. 3F, 2-3-4 Higashi-Azabu, Minato-ku, Tokyo
Tel. 81-(0)3-5114-7935
The gallery was established as Photo Gallery International in the Toranomon district of Tokyo in 1979 as a pioneer among Japanese commercial galleries specializing in photographic art. In 2015, the gallery moved to its present location in Higashi Azabu under a new name: PGI.
PGI has featured many great photographers from the United States and beyond, including Ansel Adams, Edward Weston, Harry Callahan, and Emmet Gowin, to name just a few. The gallery has also worked with Japanese masters who represent Postwar photography in Japan, including Yasuhiro Ishimoto, Kikuji Kawada, Ikko Narahara, and Eikoh Hosoe. PGI also takes pride in its partnerships with distinguished artists such as Kozo Miyoshi, Michiko Kon, and Yoshihiko Ito, with whom the gallery has worked since the early days of their careers. Since 2003, PGI, eager to discover young new talents, has welcomed Shintaro Sato, Yuji Hamada, Takashi Arai, and many others to the program.
PGI has featured many great photographers from the United States and beyond, including Ansel Adams, Edward Weston, Harry Callahan, and Emmet Gowin, to name just a few. The gallery has also worked with Japanese masters who represent Postwar photography in Japan, including Yasuhiro Ishimoto, Kikuji Kawada, Ikko Narahara, and Eikoh Hosoe. PGI also takes pride in its partnerships with distinguished artists such as Kozo Miyoshi, Michiko Kon, and Yoshihiko Ito, with whom the gallery has worked since the early days of their careers. Since 2003, PGI, eager to discover young new talents, has welcomed Shintaro Sato, Yuji Hamada, Takashi Arai, and many others to the program.
Exhibition Information
Kozo Miyoshi: Dig a Well –Along the Road
October 11–November 26
The Japanese photographer Kozo Miyoshi began his career as a photographer in the 1970s. In 2009, he started using a 16x20-inch ultra-large format camera and continued to photograph while traveling. This exhibition will feature photographs made with this camera, specifically a selection of images from his series “Dig a Well” (2009–2022).
In an interview, Miyoshi once said, “My photographs emerge from journeys.” On his way toward cherry blossoms or bathhouses, again and again Miyoshi happens upon stirring scenes which he confronts with his camera, as if entirely uninvolved and impartial. The scenes that capture his interest may be landscapes he sees for the first time or sights he has passed by many times before. In each case, he sets up his tripod, prepares his camera, and waits for the light.
Created during several trips without fixed subjects or themes, the photographs in this exhibition become like individual points that together constitute a journey, free to resonate within the subconscious memory of the viewer. Looking at Miyoshi’s captured scenes reveals the deep, rich time that unfolds within them, as if gazing down into the depths of a deep well.
In an interview, Miyoshi once said, “My photographs emerge from journeys.” On his way toward cherry blossoms or bathhouses, again and again Miyoshi happens upon stirring scenes which he confronts with his camera, as if entirely uninvolved and impartial. The scenes that capture his interest may be landscapes he sees for the first time or sights he has passed by many times before. In each case, he sets up his tripod, prepares his camera, and waits for the light.
Created during several trips without fixed subjects or themes, the photographs in this exhibition become like individual points that together constitute a journey, free to resonate within the subconscious memory of the viewer. Looking at Miyoshi’s captured scenes reveals the deep, rich time that unfolds within them, as if gazing down into the depths of a deep well.
© Kozo Miyoshi, courtesy of PGI