Behind many of my most worthwhile images there was a journey leading up to it that involved some sort of hardship, whether physically or mentally.
As humans we are attracted to darkness but want to observe from a safe distance. Only when danger is close enough, we’ll use our intelligence to come up with solutions.
I perceive my photographic work through a director’s eyes, however, the difference in my vision, is that the whole world is a stage. It’s an intense sensation of “limitless”. I like to recreate a fantastic universe of dreams and travels.
Arriving back in Marrakech, I felt like I had truly been to outer space and back; I felt like I had seen landscapes that could not exist on our planet. I felt like I had stepped both back and out of time and had seen and briefly experienced a different way of living, of one without time and without fear.
Having grown up here, was quite different from how it’s represented and how people view it from outside, specifically in regards to the rural areas. And this concerned me.
Photography is a fiction. It’s a frame of a film which hasn’t been made, or a line from a forgotten poem. I always create in camera as much as possible, because it is also about the experience of what is in front of you at the time.
It’s surprising to see a lot of people’s living spaces of a certain age – what they surround themselves with and how they decorate their houses. They’re like living museums. It’s often an incredible level of chaos and madness that they live amongst
Unless you are born on this soil and have Japanese blood running through you, you will always be an outsider. I’m a quarter Korean, quarter Japanese, half American.
I had heard about this town called Nanjiecun, reported as being the last communist village in China, and that was my trigger to go, “Alright, I’m going to go check this out.”