Kasane Nogawa “Perspective”and wander journal #72


11:00 – 20:00 ※最終日は18:00まで
東京都千代田区丸の内3-3-1 新東京ビル1F and wander MARUNOUCHI
tel. 03-6810-0078

The “Perspective” exhibition explores the viewpoint of photographer Kasane Nogawa. Her unique outlook on nature transports us from city streets to mountain paths. This exhibition provides a vicarious experience of Nogawa’s mountain walks, while also creating a visual contradiction that permits the viewer to discover a new way of looking at things.

Friday, 9 February ~ Sunday, 25 February, 2024
11:00 ~ 20:00 (closes as 18:00 on the final day)
Shin-Tokyo Building 1F, and wander MARUNOUCHI
3-3-1 Marunouchi, Chiyoda-ku, Tokyo
tel. 03-6810-0078




Photographer Kasane Nogawa is known for her unique photographic perspective, also known as “Kasane-style”. Her singular style depicts a unique world that explores the motifs of mountains and nature. How does she interact with urban and alpine landscapes? Where does she cast her gaze? What does she capture with her lens? These are all things that we ask Nogawa during this interview in which we explore the secrets of her photography and her thinking behind this exhibition.

and wander丸の内店の入り口を飾る作品『Perspective10』。凍てつくような厳しい寒さと、植物に宿る力強い生命力を感じさせるが、実は街の中にも見つけることができる「視点」なのかもしれない。

“Perspective 10” adorns the entrance to and wander MARUNOUCHI. It evokes a freezing harsh coldness alongside the formidable life force that resides inside plants. Could this in fact be a perspective that can also be found in urban spaces?






A living exhibition

――How did you conceive the “Perspective” exhibition?

For me, an exhibition is “alive”. I believe that what I should exhibit at any given moment in time changes depending on the location or space that I’m using. So, for this exhibition, the first thing I did was to consider how best to convey mountain images when in Marunouchi, Tokyo.

Being in a business district, I thought that people who wouldn’t normally spend much time hiking or in the mountains might also come to see the exhibition. In which case, rather than simply displaying generically pleasing images of mountain landscapes, I thought it would be interesting to present visual contradictions that make people stop and look, or show them a way of looking at nature that is new to them.

I was also interested in the parallels between the “urban viewers” visiting the exhibition and my “mountain-self”. What I mean is, the people visiting the gallery will move around and do different things, right? So, for example, after looking at one image they might walk on a bit to look at another photograph, then they might take a couple of steps backwards and look at both pictures at the same time etc. And that’s actually very similar to what I do when I’m walking in the mountains taking pictures. I’ll take a picture, then stop, and then keep walking again, and then capture another shot etc. I hope that visitors to the exhibition will also enjoy this stimulating physical sensation of different perspectives.


The positioning, size, and interrelation of the individual images within the installation are all unfettered and free, reflecting the way that our gaze also wanders unrestricted when we are in nature. We invite you to enjoy the exhibition by moving freely around the installations, viewing the images close up and from further away.






“Kasane-style” photography

――You are known to take unconventional images of mountains, such as misty alpine scenes, frozen lakes, and the red tape used to mark hiking trails. This has come to be known as “Kasane-style” but has this always been your style?

In regards to my mountain photography, yes. Staff at hiking magazines often ask me “why did you take this”? (Laughs) When I started photographing the red tape, everyone said “Huh? What’s this?”. (Laughs)

――Did you have that perspective from the first time you took your camera with you to the mountains, or was there something that inspired you to adopt this style?

I think I’ve always had a tendency in that direction, and right from the get-go I think I was inclined to capture things that other mountain photographers were not interested in. Also, around the time that I started photography, there wasn’t anybody doing that sort of thing in terms of mountain photography, and because I was still young at the time, I had a sort of sense of mission like “this is something that I have to do”. (Laughs) Having said that, I think that nowadays I photograph more just what naturally interests me.


The lake bed, the water’s surface, and the sky. “Perspective 05” is curious and beautiful. The boundries between multiple layers of “Autumn” become blurred.






Don’t overlook the important things

――You seem busy, always looking here and there when you’re in the mountains.

Yeah, you’re probably right. If it was decided in advance that I just need to take a photograph of the view from the summit, for example, then it would be simple, but for me, the act of photographing is intertwined with the act of walking. So, I guess that makes me busy, but as a result, I actually intentionally try to walk leisurely.

――So you don’t decide in advance what the subjects of your photographs are going to be?

I might loosely have an idea that I want to photograph the “Northern Yatsugatake” or “Oze”, but in the past, when I set myself the task of photographing a specific flower during a specific season, I found myself getting completely absorbed in the search for that one flower, which meant I wasn’t able to experience anything else. At the time, I remember thinking to myself “this isn’t good”. So since then, I’ll have an idea somewhere in the corner of my mind, but I make sure I don’t get too caught up in it. Nature is continually transforming, so if I don’t prioritize looking at what’s in front of me in the moment, I end up overlooking so many important things.


Rhododendrons and Veitch’s silver-firs fill the frame of these graphical works. A quiet presence seems to slowly emerge from a world of delicate beauty where time stands still.






The fascination of revisiting the same mountain

――You have been to Northern Yatsugatake and Oze many times. Do you not think about going to other mountains?

Of course I do go to many different mountains for work, but while one way to enjoy the mountains is to keep exploring new peaks, there’s also something fascinating about getting to know one mountain in depth, and personally, I prefer the latter. I find that by revisiting the same location during the four different seasons, I become aware of which flowers bloom at specific times of the year, or when certain species of animal are active. This naturally enables me to see in a higher resolution, and I enjoy discovering such new perspectives.

――Almost like you’re training.

Yes, that’s right. And the act of taking photographs is actually very useful for honing this skill. Taking photographs forces you to pay attention to your surroundings, and this encourages you to change your perspective, making you able to see more. In that sense, photographs and mountains have a great affinity and photography can be a tool for more in-depth observation.

まるで豊潤の秋に蓋をするかのように、うっすらと薄氷を纏いはじめる鮮やかな山肌と、その後の様子? とつい想像させられてしまう、木漏れ日を浴びる雪面が並んだ『Perspective08』。

“Perspective 08”: A picture of a brightly colored mountainside that is just starting to get a thin covering of ice – as if a lid is being put on the abundance of autumn – is juxtaposed with in image of a thick layer of snow bathed in dappled sunlight. The viewer is led to imagine whether these images could be before and after shots of the same location.


――野川さんはどんな時に山に行きたくなりますか? お仕事が忙しくなってきたら?







Where time flows differently

――When do you get the urge to go to the mountains? Is it when you’re busy with work?

In my case it’s a bit like deciding to go on a walk. I just think “maybe I should go soon”, so it’s not related to how busy I am or anything. But I often hear people say they go hiking as a way to relieve stress. In the past I didn’t really understand this, but recently I’ve started to appreciate how going to a place with a different flow of time feels good in a world that is so busy and where everything moves so fast.

Experiencing different flows of time is good for you both physically and mentally. It’s good to be busy too – getting absorbed in a rush of work. But having a place where time flows differently, be it the mountains or the ocean, is also very enriching.

――Having a place where time flows differently, that’s interesting.

On top of that, when you’re in the city, everything tends to revolve around the individual. For example, if the queue at the supermarket checkout is slow, or when you’re getting the train, we tend to think about everything in terms of individual convenience. But in nature, many things won’t go the way we want or they are beyond our control, such as a sudden downpour of rain or the waves in the sea. So, I think it’s good for humans to have more experience of being out of control and having to accommodate nature.

――I see, and it’s through this that we can discover new perspectives.

That’s right. When we’re in the mountains or in nature, there are more opportunities to think about things from another perspective, to see the world differently, or to interact with it in a different way. I’m very grateful to the mountains for helping me realize this. It’s so important. If I could go back in time, I would complement the old me for becoming a “yama” girl.


Books that Kasane Nogawa has co-authored are available for purchase at the exhibition venue. Clockwise from the top right: Saikō no Yama Gohan (The Best Mountain Meals), Yama to Kogen (Mountains and High Plains), Atarashi Tozan Annai (A New Guide to Hiking). (All published by PIE International)



――Finally, a slideshow and hiking club event are also planned alongside this exhibition. Could you tell us a bit more about these?

There are still a few things that are undecided, but the slideshow should be an opportunity for people to experience a bit of mountain air while still in the city, and enjoy watching it while listening to some music. For the hiking club, I think we’ll be going photo-trekking on a small mountain with our cameras. I’m hoping it will be an opportunity for everyone to experience and enjoy various new perspectives along the way.



写真家。1977年生まれ。山や自然をテーマに個展や書籍などで作品を発表する。写真集に「山と鹿」(ユトレヒト)、「Above Below」(Gottlund Verlag)、「ポケットに山を」、「with THE MOUNTAIN」(wood/water records)。著書に「山と写真」(実業之日本社)、「think of your mountain」(BCCKS)。共著に「山と山小屋」(平凡社)、「山小屋の灯」(山と渓谷社)、「山と高原」(パイインターナショナル)など多数。山登りの多様な楽しさを伝えるホシガラス山岳会名義の著書も多数。主な展示に、「VIEWING MOUNTAIN」(KOKUYO think of things 2018)、「study/FOREST」(pieni onni 2022)、「study MOUNTAIN 山の探求」(田淵行男記念館 2023)。

Kasane Nogawa

Photographer. Born in 1977. Presents her photography, which explores the motifs of mountains and nature, through exhibitions and publications.Her photography books include: Yama to Shika (Mountains and Deer), UTRECHT; Poketto ni Yama (Mountains in My Pocket), wood/water records; and with THE MOUNTAIN, wood/water records.She is author of Yama to Shashin (Mountains and Photographs), Jitsugyo no Nihonsha; and think of your mountain, BCCKS.She is also co-author of many books, including Yama to Yamagoya (Mountains and Mountain Huts), Heibonsha; Yamagoya no Tō (Yama Hut Lights), Yama-Kei Publishers; and Yama to Kogen (Mountains and High Plains), PIE International.She has also published many books about diverse ways to enjoy hiking as a member of the writers’ group “Hoshigarasu Sangakukai”. Notable exhibitions include “VIEWING MOUNTAIN”, KOKUYO think of things, 2018; “study/FOREST”, peini onni, 2022; and “study MOUNTAIN Yama no Tankyu”, (study MOUNTAIN Mountain Exploration), Tabuchi Yukio Memorial Museum, 2023.

text Soya Oikawa
photography Machiko Fukuda
translation Yuko Caroline Omura