Michael Kenna's photographs linger long in the mind. A picture of a bridge in a high-tide Venice leaves one with the mystic feeling of being swallowed by peaceful serenity. A photograph of leaning piles protruding from the quiet fog-covered water, again in Venice, evokes the feeling of a cold yet snug embrace in the dim winter light.

These warm, enigmatic long-exposure photographs by Kenna can be seen in In Venice/New York City, now showing at BLD Gallery in Ginza, Tokyo. Among the works are his latest from his Venice series, as well as pictures from New York and France's Mont St. Michel.

BLD Gallery director Akio Nagasawa described Kenna as a "classical photographer in the vein of orthodox picturism."

"When photography emerged, it was often used for portraiture, not artwork. It was therefore a style of record, not of artistic expression," said Nagasawa. "Then artists began to experiment regarding the extent to which they could create picture-like feelings or lyrical sentiment--in other words, picturism."

Photography later became a means to express things that could be seen only through a camera lens, the director said.

In that sense, Kenna, like Ansel Adams before him, produces authentic scenes, based on the ideas of picturism, he said.

Kenna often focuses his viewfinder on bridges, buildings and water in his Venice series, which accounts for many of the 60 prints on show, while capturing a number of skyscrapers and bridges for his New York series.

Thanks to the different characteristics of the two cities, the series create distinct atmospheres. Venice has a stony, rustic air; New York is filled with a metallic and urbane beauty. But natural elements such as water almost always play a significant role, giving his works a universally gentle, natural atmosphere--although nature for Kenna extends to include manmade surroundings and their inhabitants, according to Nagasawa.

But whatever the city or motif, each of these works shares the artist's photographic approach, which can take years in the making.

"He uses very long exposures and shoots the same motif relentlessly," Nagasawa said, adding that it often would take the photographer all night to capture one shot.

He also is exceptional in that he divides his year in two distinct sections to meet his needs. "He likes gentle light, so he shoots in autumn and winter, devoting his time to making prints during spring and summer," Nagasawa said.

Kenna uses Hasselblad medium format cameras and makes prints that measure about 20-centimeters square--the maximum size he feels he can control when it comes to printing, according to Nagasawa.

"I think it comes down to particle sizes: He seems to feel that larger prints would ruin his expression. Even though the pictures are relatively small, many viewers feel as if they will be swallowed into the frame as they peer in. The photos don't reach out and grab you--you are pulled in."

Said Nagasawa: "He creates his own imaginative Venice. Of course he captures Venice in Venice, but he captures his ideal of Venice, rather than the real Venice. The same can be said about his New York and Mont St. Michel. Like a painter painting Venice, he uses his camera to express his impression of the city."

"In Venice/New York City" runs until Sept. 26 at BLD Gallery in Ginza, Tokyo. Open 11 a.m. to 7 p.m.

Admission free.

For more information, visit http://bld-gallery.jp.

(Aug. 27, 2010)