Satoshi Fujiwara

It was through his career background working in advertising projects as a graphic designer and planner, that he got interested in how photographic images and visual information influences people and society, and how he could attempt to redefine photography.

All images Courtesy by the artist

He is working with cross-sectional inquiry with his praxis.

In his maiden work “Code Unknown” (2014-15), he questioned the notion of portrait-rights in contemporary society by photographing people in the Berlin subway without permission. Through the way of shooting and editing, he was able to limit and convert peoples’ codes (How one is normally recognized), thus the subject’s identity in the portrait was obscured.

In the subsequent companion series “#R” (2016-) and “#police #cover_up #demonstrations #brutality” (2015), media manipulation, forms of ideological bias in the media and today’s less-visible propaganda were covered. Questioning the notion of reported reality in the digital era by making use of digital manipulation, he made a seemingly brutal fictional narrative. The pictures, in fact, were taken at different times and in different countries during standard police operations, when there were no actual clashes or riots.

In parallel to those projects, the photographer has also been accumulating many urban images within continental Europe, such as “Continent” (2017-), “Sports” (2017-), “Venus” (2016-) and “Animal Material” (2016-).

In his photographic praxis, the works and presentation methods are dynamic and constantly evolving. Images that were previously sorted into a series with a specific meaning and context can be deconstructed and reconstructed. Picture materials are always installed according to each case, with a newly made concept, intervening in the space-time of each exhibition setting. Thus, installation form, material and even the meanings and contexts of his photographs are re-edited, replaced, changed and/ or simply moved.

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