Second part of my work “Hänelle joka kuihtuneita kukkia kastelee” (For her who waters emaciated flowers).
This line is actually one of my favorite lines from movie “Hana-bi” by Kitano Takeshi. I really like how it sounds in Finnish and I think the translation went somehow like this. This appears in a scene where the main character’s terminally ill wife is giving water to dead plants and is interrupted by a passersby who asks her something along these lines, “are you stupid? Who waters emaciated plants?” Takeshi beats crap out of the guy.
Flowers never lose their gracefulness even after their death.
Dedicated for the one watering emaciated flowers.
I will keep my new private exhibition from 26th of May in Bar Sara near Gakugei Daigaku station. The exhibition will last two weeks until 9th of June. If you are near the area, do drop by and taste some of the exquisite alcohol as well.
Bar Sara is a simple but very attractive place. The owner has a remarkable and unique taste for art and beauty. I am really honored by this chance.
“Upon closer scrutiny, his subjects are always alone, finding contact difficult, as if preoccupied by a sense of absurdity, a sense that communication between human beings trapped in solitude is impossible.”
Germano Celant’s description of Araki’s photos is remarkably deep and true. This is the very reason why I like Araki; it’s the very loneliness that’s realised in often erotic subject matter. His subjects never look satisfied, but rather isolated and needy; the women look almost like as if they are orphans missing their long lost family members. Solitude fascinates me; that’s why I love Araki.
Sentimental Journey is undoubtedly one of his most personal and most powerful words. The universal message of extreme solitude and loneliness goes across the language and any cultural barrier. I was almost literally in shock for a period of time after seeing the photo series; it was just so powerful message.
Although Araki can be considered very Japanese photographer, he is at the same time very international, because art itself knows no borders. It could very well be that Araki is and will be my favourite photographer.
I had great time shooting Lizard Point Vol.1 in Jogashima, Miura today. I really want to thank fantastic model Yuki and our videographer Paulo for making this possible. Without you guys this just wouldn’t have happened!
It was really such a pleasure to work with Yuki since she really understood my concept from the beginning. The way how she interpreted it was totally beautiful; in fact I felt even a bit shaken by the intensity of the emotions she was able to convey.
Indeed, I wish that my skill as a photographer was enough to capture this very powerful scene properly. I know I will have trouble sleeping until I see the developed negatives; But that’s how it always is when you are shooting film. You’re taking risk; and that’s what makes it so thrilling; that’s chemical reaction what’s going on there.
OK, now I am angry. Yodobashi Camera in Yokohama censored one frame from my Tri-X negative, and destroyed part of the preceding and following frames in the process, as you can see in the picture. It was mild nudity at best and I’m sure there was no genitalia in the picture, even if there was it must have not been clearly visible.
I was not notified about this when I paid and received the negatives and there was no sign in the packaging whatsoever that censorship would have taken place.
This is simply just unacceptable because the following and preceding non-nude frames were also affected by whatever dark magic they used to destroy the picture after it was developed. Also they should have explained this reason to me clearly which they never did. That is just wrong.
OK, you might think that this is a result of accidental opening of the camera while film was in since it looks like severe overexposure. But I am sure I didn’t open the camera while the film was in half way, and even if I would have accidentally done so, the film counter would have reseted. Thus I am sure I didn’t open the camera. I have shot about a hundred rolls with my Bessa R3M and this kind of issue has never happened. It just cannot be because of camera malfunction.
If this was an accident of the lab, that means they need to refund me since I paid for a product that wasn’t what it was promised. If this was non-accident but intentional censorship, then they should have notified me; and still that doesn’t justify destroying preceding and following frames.
So I think I’m at least entitled for a refund for damaged film.
And the question is what if I would have been shooting something important? Well this WAS important, but gladly I’m not going to lose my head over this. The lesson learned; develop yourself if it’s black and white. As noted by a fellow photographer, there’s also the risk that someone working in the lab might copy the image if it’s special enough; you just can’t be sure.
Sadly it’s just currently impossible for me to start developing color film, so I will still be dropping my Ektar100′s to Yodobashi.