Eolo Perfido Street Photography Exhibition @ the Leica Galerie in Milan
20 September 2016 - 5 November 2016
Tokyoites - like foreigners call the people of Tokyo - look like they are always on the run. They walk fast just like they always know where they are headed, with their eyes stuck on their smartphones any time they have to stop, on a subway or at a traffic light.
In my very first trip to Tokyo, as a kid, I did not have a camera with me. I instantly fell in love with it.
In between past and future, tradition and innovation, Tokyo, since that very first trip have always been the center of my intellectual curiosity.
I believe my attraction towards Japan somehow obey the classic rule of the opposites attracting themselves, and partially due to the mediatic marvelous contaminations that featured my life and right after my profession since the early 80s onwards.
Tokyo sports so many different lifestyles, so many different people and districts in contrast between them that it is quickly very clear that she is not just a city but many smaller different cities, in constant movement and mutation.
The Gaijin's eye - Japanese word meaning "someone external to Japan" - helps spotting some of the most common details about the majority of the Tokyoites so that their appearance in public are the center around which I have been building my street photography work.
Able to get isolated onto a wall just to answer a phone call or consulting a map, they define a quite unique concept of personal space. The contrast between the high density population and the isolation of the individual is evident.
In a city like Tokyo what could look like a limit, often turns into virtue, necessary to its survival. Not just cultural imposition but adaptation that permits an harmonic coexistence of over 16 millions of people.
Citizens quickly move non stop among streets, stations, synchronized like in a dance, quietly and in order without clashing, without bothering each other.
Life in the metropolis have taught me that isolations has nothing to do with how many people we cross in our journeys or those who we have to necessarily get in touch with.
Nevertheless in my Tokyo trips i learned to have observed a different kind of loneliness, never shouted, but privately hidden in order to look like a delicate sentiment.
Every single street picture of mine is born with the ambition of living on his own. The stories or abstractions suggested from whatever is that remains tangled up in the picture frame, do not aim to influence that of the next frame.
When looking back to all the pictures i took in those years, i do not see them as many little individual stories but as parts of an unforeseen whole new story, raising among the memories of days passed with my camera around the neck, among thousands of souls, brushing against in the deep loneliness of their personal boundaries, like in a crowded Tokyo crossroad.