Daisuke Yokota is one of the most talked-about young Japanese photographers. He’s been praised for his meticulous approach to photographic experimentation, combined at times with visceral performances and his willingness to continuously test the limits of photography.
Born in 1983 in Saitama, north of Tokyo, Yokota is part of a generation of young artists using photography in subversive new ways. His approach combines multiple rephotographing and printing, and applying acid or flame to the end results. He is working out of, and pushing forward, a Japanese tradition of photobook-making and performance that harks back to the visceral experimentation of the Provoke generation and the work of the relentless photobook-maker Daido Moriyama.
His process is meticulous to the point of obsessive. He shoots on a compact digital camera, prints and rephotographs the results on medium-format film, then prints them again several times using heat and light to mark or distort the images. He stands out because his results tend transcend the sum of the parts. Or, to put it more brutally, his creative process does not appear more interesting than the results. The idea, execution, and final work are all of an equal and often mysterious intensity.
– Sean O’Hagan, The Guardian
Daisuke Yokota on the influence of Aphex Twin on his work:
“There’s a sense that you can’t really see him, and this confusion is interesting to me. Then, to speak about his music, there’s a lot of experimentation with delay, reverb, and echo, which is playing with the way you perceive time. Of course, there’s no time in a photograph, but I thought about how to apply this kind of effect, or filter, to photography.”
THEY and WATER SIDE series
p.s. RIP Carolee Schneemann. ** David Ehrenstein, Hi. Definitely read Richard Chiem’s book then. ** chris dankland, Chris, old buddy! So, so good to see you, sir. My morning is its usual de-clouding via coffee self. And yours? The Richard Chiem novel is superb, don’t miss it. Oh, you’ve moved. You made it! Good, good, good that you’re into Phoenix life. Anything like your old Texan life? Very happy that you’re writing, of course. Best news right there. My pleasure on the reposting. Your posts are always singular. I only just got thew new GbV and have only heard it through twice, but, yeah, in the least surprising news ever, I love it more and more. Interesting: your observation about Pollard’s voice changing. I’ll lock into or rather look at it from that angle on my next spin. My opinions are slowly forming, as they tend to do with Pollard. I’m always kind of studious at first until the thing/tracks familiarise themselves with me, and then dumb pleasure gets mixed in, and then it’s easier for me to parse the stuff. Yeah, man, it would be super great to have you here more often if that idea swings the right way for you. You take care, and please give Jennifer my very best! ** Nik, Yeah, he’s quite the writer. Oh, uh, I guess I meant that the film will seem to be constructing the earmarks of a horror film perhaps, but the horror signage doesn’t pay off as that expectation would suggest, and, in fact, as the horror trope fails, the emotional horror uses that expectation/distraction to sneak up on the viewer. Which I realise probably doesn’t make much more sense than the phrase you asked me about, oops. It’s hard to nail down what it is until the script is finished and the post-writing/imagining begins. I think the PGL trailer is finished. The French poster got nixed at the last minute by our producer, which we’re a bit crushed about, but we’re going to try to persuade him otherwise. A lot of PGL stuff right now what with the French release and the US mini-release basically happening at the same time. Thanks about the Bookworm thing. Yeah, usually Michael S. is so intimidating, but he managed to make the experience very comfortable. Excellent that PA liked your film! That’s great! Wow, Craig Baldwin, that’s awesome. What a good class and teacher PA seems to lead/be, no surprise at all. My week is a lot of PGL-related stuff and work on the new film script. Mostly just that. I’m managing to feel busy/preoccupied without feeling crazy. So far. Let me hear your latest, and have a sweet day. ** Steve Erickson, Yes, the left here has not become intellectually and politically and cultural rigid and dictatorial. For the most part. That’s still the right’s turf. I was never very big on The Prodigy. Their charge always seemed tissue thin to me. Best of luck with Mark Cousins. That should be interesting. ** KeatonStack, I used to know her. I should try to get back in touch. Over here ‘tail’ means cock. I always find that confusing. I hope you trick that trick into working. Surely. ** rewritedept, Hi, Chris. Man, I’m so sorry to hear things are rough with you. Birthdays are always hard. That shittiness you feel about yourself will pass. And probably return again later. Sucks that you’re always dealing with that swinging around. The psoriasis is surely weighing in on your mood. It would have to. I have other friends with it, and, yeah. I don’t know what to say except that I hope life’s greatness makes its presence felt right away. Love you too. ** Corey Heiferman, Hi, man. Yeah, his work was quite US-unfriendly, even back when films that were more deliberately left were instinctually embraced there. Plus his work is pretty weird if you look at it as a totality. Some of those fiction films, like that bizarre sci-fi film, are seriously offbeat. I really like your plan re: Hebrew solidification leading to filmmaking. Your brain is being a really good sieve, it sounds like. Thanks about my heat. We still need it, but not for long. ** Okay. I decided to restore this intriguing art post put together by Jeff Jackson some years back, and I hope you like it. See you tomorrow.