"When you've lived through those three deaths, you'll be a photographer"-5

Metropolis. 

"in front of the SONY Building in Ginza, or at the countless intersection of Shibuya Station Square, as soon as the green light is on, a mixed flow of people suddenly comes from all directions, as if they are about to bump into each other, but they are not, they just pass by and scatter away. 

That's the charm of Tokyo. " 

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"There is a quiet graveyard in the valley of the skyscraper. 

The building is like a huge tombstone. 

Incredibly, when I took pictures of the daily scenery of Tokyo, the image looked like ruins. 

Therefore, I sometimes like to put the shape of the monster on the road to shoot, so that the ruins become the scenery of the kingdom of heaven. " 

"I walked with a woman named Tokyo in a place also called Tokyo and often took pictures of her. 

Yes, Tokyo is like a woman's body. " 

"I can't help it. Tokyo is in tune with my physiology. It's uterus'." 

In addition to sex, the city has always been an important theme of Araki. 

In his long photography career, he hardly went abroad for more than 20 years. 

He just stays in Tokyo to take pictures, and he doesn't go anywhere outside Tokyo, basically always using Tokyo as the theme or background of his photos. 

Unlike other photographers, Araki likes to go far away under the pretext of photography, hoping to concoct sensational images from the stimulation of first impressions given in strange places. 

For Jingwei Araki, Tokyo is a place where countless inspirations, motivations, and stories are hidden. 

He eagerly pursued what happened in Tokyo with photography. 

Like the Japanese art historian, Junji Ito, who first commented on Araki's photography as a contemporary cultural phenomenon, Tokyo is a place with no sense of history. it is a place that has always been knocked down, repeatedly built, and forever full of vitality. 

In the face of such an ever-changing city, Araki may be able to grasp its change and cover its rapid development and change only with constant attention. 

His relationship with Tokyo, an urban monster, can be said to be breaking. 

He absorbs vitality from the changes in Tokyo, and he constructs the image of Tokyo with his vibrant images and becomes a part of the vitality of Tokyo. 

From the point of view of Araki's high yield, we can also know that this is a miracle that can only happen in Tokyo. 

He surrounded the behemoth Tokyo with countless photos at a speed that seemed too late to be sentimental, but the speed itself, the eagerness itself, was another form of sadness. 

He is constantly competing with time and destruction, competing with the new things in the city with his photos. 

Araki flirted with Tokyo, a city full of temptations. He was not only hopelessly seduced by the city but also desperate to seduce the city with his photos. 

When he flirted with Tokyo, he did not forget that he was a bystander, but this kind of bystander was not a calm bystander, but a kind of heartfelt bystander, a kind of fully understood bystander, a kind of admiring bystander. 

Tokyo is also a bystander to see how he performs on the big stage of Tokyo. 

Therefore, his relationship with Tokyo can be said to be one of mutual observation, mutual encouragement, and mutual appreciation. 

In the course of coming and going with the city's line of sight, he launched a long dialogue with the city and became the city's photography confidant.