KAMI is a meditative visual elegy by Japanese photographer Hitoshi Fugo, unfolding across nearly three decades of reflection on impermanence and renewal. The work interlaces two temporal and emotional landscapes: the aftermath of the 1995 Great Hanshin Earthquake in Kobe, and a series of intimate studies of a scorched industrial paper roll found outside a burned printing factory in Tokyo. In both, Fugo traces the fragile line between destruction and transformation, revealing form within ruin and spirit within residue. The Japanese word kami means both “god” and “paper,” and this duality anchors the project’s philosophical depth — where the divine and the material, the sacred and the ordinary, dissolve into one another. Through images stripped of narrative yet charged with presence, KAMI becomes a quiet act of reparation: an offering to what survives, and to the poetic stillness left after loss.

KAMI is a meditative visual elegy by Japanese photographer Hitoshi Fugo, unfolding across nearly three decades of reflection on impermanence and renewal. The work interlaces two temporal and emotional landscapes: the aftermath of the 1995 Great Hanshin Earthquake in Kobe, and a series of intimate studies of a scorched industrial paper roll found outside a burned printing factory in Tokyo. In both, Fugo traces the fragile line between destruction and transformation, revealing form within ruin and spirit within residue. The Japanese word kami means both “god” and “paper,” and this duality anchors the project’s philosophical depth — where the divine and the material, the sacred and the ordinary, dissolve into one another. Through images stripped of narrative yet charged with presence, KAMI becomes a quiet act of reparation: an offering to what survives, and to the poetic stillness left after loss.

KAMI is a meditative visual elegy by Japanese photographer Hitoshi Fugo, unfolding across nearly three decades of reflection on impermanence and renewal. The work interlaces two temporal and emotional landscapes: the aftermath of the 1995 Great Hanshin Earthquake in Kobe, and a series of intimate studies of a scorched industrial paper roll found outside a burned printing factory in Tokyo. In both, Fugo traces the fragile line between destruction and transformation, revealing form within ruin and spirit within residue. The Japanese word kami means both “god” and “paper,” and this duality anchors the project’s philosophical depth — where the divine and the material, the sacred and the ordinary, dissolve into one another. Through images stripped of narrative yet charged with presence, KAMI becomes a quiet act of reparation: an offering to what survives, and to the poetic stillness left after loss.