重疊的航跡 Overlapping Trajectories 

本作的拍攝位置位於待兼山，視線朝向大阪灣。這一方向同時也是1945年大阪大空襲期間，美軍B-29轟炸機群可能進入城市的航線之一。我並不試圖再現歴史場景，而是從宿舍當下的位置出發，提出一個問題：

「如果站在這裡，在那個時刻，人們可能會看到什麼？」

由宿舍窗外望去，可見伊丹機場的飛機持續起降，使來自上空的移動軌跡成為日常視覺經驗的一部分。透過紅外線影像的轉換，熟悉的地景被轉化為一種異常的視覺状態，過度湛藍的天空、發紫的植被、冷冽的工業設施，使空間暫時脱離日常經驗，進入一種介於現實與記憶之間的状態。這些影像並非歴史的再現，而是一種感知上的推測，指向一種曾經可能發生的觀看經驗。

在這樣的條件下，觀看不再只是觀看當下的風景，而是同時面對一個被歴史影響但不可見的空間。過去並未被直接呈現，而是透過不可見光譜的轉換，被重新滲入於當前的視覺經驗之中。

The work is filmed from Machikaneyama, with the camera oriented toward Osaka Bay. This direction coincides with one of the possible flight paths taken by U.S. B-29 bomber formations during the 1945 Osaka air raids. Rather than attempting to reconstruct a historical scene, the work departs from the present position of the dormitory and poses a question:

“If one were standing here at that moment, what might have been seen?”

From the dormitory window, aircraft at Itami Airport can be observed continuously taking off and landing, rendering aerial trajectories an integral part of everyday visual experience. Through the translation of infrared imaging, the familiar landscape is transformed into a state of visual estrangement: an excessively saturated blue sky, purplish vegetation, and the cold presence of industrial structures. The space is thus momentarily displaced from the realm of the ordinary, entering an in-between condition—situated somewhere between reality and memory.

These images do not seek to represent history directly; rather, they function as a perceptual speculation, pointing toward a mode of seeing that might once have occurred. Under such conditions, viewing is no longer confined to the present landscape, but instead engages with a space shaped by history yet remaining invisible. The past is not explicitly depicted; instead, it seeps back into the present visual field through the translation of non-visible spectra.