Motoyuki DaifuFamily Time

Tokyo, October 27th, 2017
Interview Vivien Allender




left: Project Family, 2010
right: Untitled (Lovesody), 2010


VA You have said you didn’t compose your Still Life images. They are a purely diaristic record of your home life with no interventions. How then do you choose to frame an image? What is your thought process when taking these photos?
MD Speaking strictly, I have to admit that I do control a little bit the composition. For example, after having taken a photo, I both trim the image and consider the color. What I aim at with this trimming and color control is a certain balance.
In Japanese there is a very specific idea—“shishashin”—or a pure photo diary; then there is a Western classical idea of the “still life” and I am trying to merge these two in my Still Life photo series; no more or less special than this.
VA This idea of “shishashin” is interesting. It seems to be rooted in the same ideas of self-observation so prevalent in social media. I’m intrigued by these juxtapositions and how each Still Life seems to tell a different story and perhaps speaks to different characters and times. In one image mosquito coils and sun block speak to summer. In another Oden (fish paste tubes), Disney branding, candy and a cute bear-face purse suggest a child or a female presence. They are all just objects of daily life in Japan but why have you chosen to include these in the frame. Is there a personal narrative here and what are you telling the viewer through the work?


  To read the full interview download MUSE Travel Japan 2018