Yoshiho Nabeya / Naberix
Yoshiho Nabeya (Naberix) is a visual explorer based in Yokohama, Japan, with decades of practice in fine art photography.
A graduate of the FWC Photography Program in the United States, he traveled through India, where the experience gave rise to his debut solo exhibition Yocho (Premonition) - photographs born of that journey.
He received 2nd place (Finalist) at the 17th Hitotsubo-ten Photography Exhibition, and has participated in numerous group exhibitions. Years later, while working as assistant to a prominent photographer, he suffered and overcame retinal detachment - an experience that led him to radically redefine his understanding of vision itself.
After a period shooting exclusively for an advertising agency, he went independent, pursuing the fleeting instant that only one who has known the limits of sight can capture.
His most recent body of work, Chromatic Exodus (2020-2025), departs from the industrial landscapes of the city, moving through a dialectical process of intention and chance toward abstraction i n light and color.
Rooted in personal loss, the series transcends autobiography to pose universal questions of regeneration and exodus. His photography criticism and process writing are published continuously on note.com (@naberix_one).
1990年代のインド放浪を契機に写真家を志し、ストレートフォトグラフィーの基礎を徹底的に叩き込む。助手時代に網膜剥離を患い絶望の淵に立つが、奇跡的に回復。広告代理店の専属カメラマンを経て、一旦は写真の世界から離れ、長期にわたる海外駐在（香港・バンコク）の時代を経験。近代社会の「効率と合理性」というシステムを内側から生きたことが、後の作品思想の核となる。
2020年代より、横浜を拠点に創作活動を再開。20代の頃に自らに掲げた「思想からの離脱（Departure from Ideology）」を一貫したテーマとして掲げ、写真・デジタル加工を統合した独自の表現を展開する。
近作シリーズ『Chromatic Exodus（2020–2025）』は、都市の工業景観を出発点に、意図と偶然の弁証法的プロセスを経て光と色彩の抽象へと至る作品群。個人的喪失体験を起点としながら、それを普遍的な「再生」と「離脱」の問いへと昇華させている。note.com（@naberix_one）にて写真論・制作論を継続的に発表。
Education
Long Island University Southampton Campus (Former Friends World Collage)
Visual Arts Course Completed
Visual Arts Course Completed
Photo Activities
2001 Photography Workshop, CORPUS Completed
2001 Vol.17 Shashin “Hitotsubo-Ten” Semi-Grandprix by 1st Photo Work of “Departure of Ideology”
1998 Solo Show at Gallery Eight @Takadanobaba / Documentary Photography of Indian Culture
個展『予兆』 高田馬場ギャラリー８ 印度滞在時のドキュメンタリー
2001 3人展『ジオラマ』 渋谷Gallery Le Deco5 Exhibition その他グループ展多数
2026. KG+ KYOTOGRAPHIE PORTFOLIO Review 1st Round Selected
2001 Vol.17 Shashin “Hitotsubo-Ten” Semi-Grandprix by 1st Photo Work of “Departure of Ideology”
1998 Solo Show at Gallery Eight @Takadanobaba / Documentary Photography of Indian Culture
個展『予兆』 高田馬場ギャラリー８ 印度滞在時のドキュメンタリー
2001 3人展『ジオラマ』 渋谷Gallery Le Deco5 Exhibition その他グループ展多数
2026. KG+ KYOTOGRAPHIE PORTFOLIO Review 1st Round Selected
The Statement of “Chromatic Exodus 2020-2025”
Chromatic Exodus begins at a window — the industrial smokestacks of a factory complex rising from the urban landscape of Yokohama. What first appeared as mere structure gradually revealed itself as a mirror: the system outside, and the self within it.
This series is rooted in personal rupture — separation, loss, and the experience of returning to a camera after years of silence. Yet it is not autobiography. It is an inquiry.
Each image begins as a photograph: light recorded, reality fixed. Through an intentional process of digital reconstruction — layering, dissolving, extracting color as emotional frequency — the original scene is not destroyed but transfigured. What remains is neither document nor fabrication, but something between: a record of inner weather made visible.
The title carries two meanings simultaneously. Exodus as departure — from ideology, from fixed ways of seeing, from the self constructed by social systems. Chromatic as the medium of that departure — color not as decoration, but as the language through which feeling becomes form.
I have long called this work a record of departure — from ideology, from fixed ways of seeing. But in writing this, I have come to understand something deeper. What I was truly searching for was not liberation. It was a place where I am allowed to exist. A place where the self I am right now is enough.
This series is rooted in personal rupture — separation, loss, and the experience of returning to a camera after years of silence. Yet it is not autobiography. It is an inquiry.
Each image begins as a photograph: light recorded, reality fixed. Through an intentional process of digital reconstruction — layering, dissolving, extracting color as emotional frequency — the original scene is not destroyed but transfigured. What remains is neither document nor fabrication, but something between: a record of inner weather made visible.
The title carries two meanings simultaneously. Exodus as departure — from ideology, from fixed ways of seeing, from the self constructed by social systems. Chromatic as the medium of that departure — color not as decoration, but as the language through which feeling becomes form.
I have long called this work a record of departure — from ideology, from fixed ways of seeing. But in writing this, I have come to understand something deeper. What I was truly searching for was not liberation. It was a place where I am allowed to exist. A place where the self I am right now is enough.
『Chromatic Exodus』は、一枚の窓からはじまる。
横浜の街に林立する工場の煙突群。単なる構造物として見ていたその風景は、やがて鏡へと変わった。外側にあるシステムと、その内側に生きる自己とを映す鏡に。
このシリーズは、個人的な断絶、離別、喪失、そして長い沈黙の後に再びカメラと向き合うことになった体験を起点としている。しかしこれは自伝ではない。
これは問いの記録だ。
すべては一枚の写真から始まる。光が現実を捉え、シャッターが世界を定着させる。そこからデジタルによる再構築のプロセスを経て、重ね、溶かし、感情の周波数として色彩を抽出することで、元の風景は破壊されるのではなく、変容する。
残るのは記録でも虚構でもない、その中間にある何か。内なる気象が可視化されたもの、とでも言うべき「何か」だ。
タイトルには二つの意味が共存している。Exodusは離脱——思想から、固定した視点から、社会システムが構築した自己から。Chromaticはその離脱の媒体。装飾としての色彩ではなく、感情が形になるための言語として。
「思想からの離脱」を長年のテーマとして追ってきた。このシリーズが教えてくれたのは、その核心にあるパラドックスだ。解放を求める行為そのものが、自分を縛る思想となる。私はもうこの矛盾を解消しようとしない。矛盾の内側で、撮り続ける。
『Chromatic Exodus』は、その終わりなき、未完の試みそのものである。
座右の銘
『平凡人が平凡なことをしておったのでは、この世において平凡以下のことしか成し得ぬことは明白。平凡人だからこそ努力と修養が全生活であらねばならない』