Naoyuki Ogino Speaks: Fusing Yin with Yang in Photographs
I now believe in the shades and ambiguities of a truth. I think truth varies in different contexts, like background, education, or personality. Truth is mobile and changes through time. Even if a photograph had captured truth in it, I do not think that an image is capable of conveying the complete truth because it is not a one-way communication; it depends on the viewer too. Rather, I think the photograph connotes vagueness; it is not a verbal language.
Most importantly, I believe that it is very important to acknowledge this zone of vagueness, a zone where the vague/invisible “yin” fuses with the visible “yang.” This is a melting point that I now seek through photography. I paraphrase it as the “cloud” between documentary and art, in which I seek the scents of culture reflecting their lands through the people.
Tell me more about your working process — before and after the “click.”
Most of my works are based on a link from my past; someone whom I met, or something from before…
Consider my working process as a voyage: I am on a ship with a mast (shaved with my subject and energy attracting me), holding a sail (woven from my nature), catching the wind (blown from my surroundings) on the waters (named the Mongoloid’s cultural block) and on my hand I am holding a compass (balancing yin and yang) for seeking the treasures (accumulated with the scents of the cultures). When my ship anchors at a port, I usually find one particular person as a guide to help immerse myself into the culture. Then I will just try to approach the ordinary people, and walk into their immediate living conditions — totally and honestly. This is how I begin shooting, and this is the first half of my photography creation.
Upon returning home, I embark upon my second shooting process: confronting the developed films. Selecting images for the final showcase is like diving alternately into my unconscious and conscious.
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