Astrograph Gerald Rhemann - “I am specialized in deep, wide-field vistas of the Milky Way using short-focal-length telescopes and large-format CCD cameras. In partnership with my friend Michael Jäger we are searching the sky for undiscovered comets and record those which are currently visible. I have been sky-shooting since 1989. I photograph under the clear skies of the Austrian Alps, the Canary Islands, and the deserts of Namibia. I was born in Vienna, where I owned a camera store. Currently I work as a sales manager and consultant for Astro Systeme Austria, which is a company producing high quality Astrographs.”
Object: NGC 7293 Helix Nebula/Aquarius
Object: Objects around Antares/Scorpius
Object: IC 4592 / Scorpius
Object: NGC 6559 Sagittarius
Object: IC2177/Constellation Monoceros_Small Version
Object: Reflection and Emission Nebulas Scorpius/Ophiuchus IMAGE DETAIL
Object: Sh2-1 Scorpius
Object: Reflection and Emission Nebulas Scorpius/Ophiuchus OVERVIEW
“Go-Oh Shrine traces its origins back to the Muromachi (Ashikaga) period (1338-1573). In recent years, however, the structure had deteriorated considerably and was slated for reconstruction under the Naoshima House Project.
Called in as artist-designer, I avoided existing shrine typologies and tried to recreate an imaginary architecture more in keeping with ancient Japanese Shinto worship.
Prior to shinmyo-zukuri (the first Shinto architectural style formalized in the 7th century), animist worship is thought to have focused on sites in nature where some special quality or force was felt—ineffable ‘power places’—whether in giant trees or waterfalls or boulders.
The ancient Japanese conceived of their kami (deities) as manifesting themselves only when humans purified their ‘power places’ for them. Thus, my vision of Go-Oh Shrine started from the giant rock slab visited by the local kami.
The shrine comprises 3 main parts: the Worship Hall, the Main Sanctuary, and the Rock Chamber. The massive rock slab completely cuts off the Worship Hall and the Main Sanctuary from the Rock Chamber; only the ‘stairway of light’ joins the celestial and earthbound realms.
From the underground chamber, a concrete-walled passage leads to the mountainside. Visitors to the shrine first worship at the divine iwakura (stone seat) and shrine hall, then descend to the ‘ancient’ underground chamber via the concrete passage, lastly taking in a view of the sea through the portal to the present on the way out.”
“I’m a habitual self-interlocutor. Around the time I started photographing at the Natural History Museum, one evening I had a near-hallucinatory vision. The question-and-answer session that led to this vision went something like this:
Suppose you shoot a whole movie in a single frame?
And the answer:
You get a shining screen.
Immediately I sprang to action, experimenting toward realizing this vision. Dressed up as a tourist, I walked into a cheap cinema in the East Village with a large-format camera. As soon as the movie started, I fixed the shutter at a wide-open aperture, and two hours later when the movie finished, I clicked the shutter closed.
That evening, I developed the film, and the vision exploded behind my eyes.”
“Mystery of mysteries, water and air are right there before us in the sea. Every time I view the sea, I feel a calming sense of security, as if visiting my ancestral home; I embark on a voyage of seeing.” ― Hiroshi Sugimoto