Kikuchiyo-san is a fictional character. Rather than being in my comfort zone behind the camera, I am the subject facing the lens. The back and forth of Kikuchiyo-san being in her own home and out in the world and the still-lifes which are interspersed throughout bring to mind my tendency to ponder things that are right in front of me, as well as things I will never understand.
When I first tried on her gray wig, the latex make-up, and her clothes, I gazed at the mirror for a long time. My initial reaction was to chuckle, but I started feeling a little uneasy soon after. The wrinkled face staring back at me resembled my own with thirty-plus years added to it. When I smiled, she smiled back at me. When I pouted, she pouted too. It was the first time I had met her, but she was simultaneously someone I already knew quite well and someone I knew nothing about.
Unlike the feeling evoked by the painting in Oscar Wilde's The Picture of Dorian Gray, looking at Kikuchiyo-san in the mirror caused me to feel a mixture of humility, humor and a sense of tender familiarity.
I'm not sure when my interest in aging started, though I can think of several reasons why it is now on my mind. Small losses like my favorite corner cafe being replaced by a chain drug store, and finding the first few strands of gray in my hair. Or, bigger losses like death of my father and the disaster in Japan a year ago in March. In June, Kikuchiyo-san will have been with me through four seasons; a reminder that time and life are always moving.
I have gotten used to dressing up as Kikuchiyo-san because it has been a year since I started photographing her. But I still feel uneasy imagining the one sentence Kikuchiyo-san could utter to me if I met her in a crowded train station or during a walk in the park: "I used to be you."
— Kyoko Hamada
Unreal landscapes where objects and situations appear in apparent disorder to create an iconographic space where beliefs of any kind can be real.
"It all began with a commotion in the toilet. One day, Chan was busy at his workshop when he heard a noise coming from the bathroom. Curious, he opened the window and looked down below..."
For the first time ever, 185 young photographers from throughout R, Ukraine and Belarus, gathered together for an intense and stimulating week in Moscow to meet each other and to get a critical response about their work from a large group of international photography experts. Here are our top picks — representative photographs from 43 of the photographers whose work attracted us the most.
Aleksandra Vajd documents former border-control areas throughout the EU — architecturally cold and grim places, designed to exert control over people until the fall of the Schengen borders in 2007.