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As one of my photographic approaches expressed in the form of snapshots, I tend to photograph what I find graphically interesting in the streets. Of course, this is not the case for every snapshot, as I also capture images of the lives of people on the street as well as cityscapes. However, when I received the offer to make this book, I knew that I wanted it to be entirely graphical, or kitsch and pop, primarily featuring somewhat tawdry and erotic images. With this aim in mind, Tokyo was the perfect place. Shinjuku, Shibuya, Ikebukuro, Asakusa, Ginza…Every corner of Tokyo is stunningly chaotic, teeming with a myriad of components that make up cities, like an overturned toy box or Pandora’s box left open, giving me a thrilling feeling as I walk through the mishmash with my camera in hand. Whether it be a poster, a signboard, a window display, or a small street corner, it is as if anything and everything speaks to me, stimulating and motivating me as a photographer. The music or noise echoing around the city sounds to me like nothing other than boogie-woogie.
When I finished editing, I could not think of any other title for this book but “Tokyo Boogie-Woogie”.
As big cities have a mysterious dynamism in which the fictional / real and the abstract / concrete are eternally inverting, a street photographer cannot but continuously click the shutter of his camera in perpetuity. The reason for this is that the streets of the city are cloaked with layers of enigmatic veils.
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