Yuri Machida
The driving force behind my projects is an interest in “How can you coexist with something different from yourself?” Also, what kind of story does a person spin in the process?
We can travel to various parts of the globe, and the development of the Internet has enabled us to receive real-time information from all over the world even if we do not want to.In recent years, art and music have been highly regarded as effective tools for sharing emotions among people who do not have a common language and background. However, I don't think we can live in harmony with a variety of things just by simulating art and sharing emotions. My projects assume the complexity of modern experience and the people's background of hybrid identities.
Utilizing project planning, coordination and implementation, photography, and text (story). In the case of photographs, I often refer to the method of documentaries and advertisements. The reason why I have chosen photos rather than videos in many works is to question the viewer to imagine why such a photo was taken, and in the mind of the person, the story is played.
Then I choose a neoteny look. This is to provide a familiar introduction to the viewer by taking on the aspect of "play of children" and "play of bad brat" that everyone has experienced. But over time, the viewer gradually becomes aware that the various participants is fighting. Ask the viewer to seriously look back at the work.
I use digital cameras when making photos and movies. Because it's important for the participants and I to see and discuss the photos we took on the spot, give the viewer a magical performance, and manipulate what is reflected in the background. In most cases, me and the participants are accomplices.
It is generally recognized that photographs are "one that captures the individual's perspective", but in the above points, my photographs can be considered to capture the perspectives of various participants. It presents a “consensus solution” among various participants under the burden of project conditions.
I don't need exaggeration in expression, such as distorting the shape of what is reflected. Because the situation that the project brings is already extraordinary, and our real life is already strange. I shows themself as the ordinary person in emphatically ordinary surroundings, and it encourages the viewer to notice the hidden wonders.
This is a challenge, not a neglect and abandonment of authorship. "How can we add originality to project planning and bring out the originality of the participants who respond to it?” Also, “Is it possible to make it fun for the viewer and encourage practice? ”
Ultimately, it is my success in my work to evoke not only the participants but also the viewer the joy of welcoming different things and getting them to do so.
