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"If you look at music or film, there is time there. In other words, the work has a clear beginning and end, and in between, you shut out your daily life—you throw yourself into the work. There’s no element of duration to your experience of a photograph; it’s closer to an object. I felt that this was an extremely weak point of photography. So, I’m aware that photography can’t function in the same way as films or music, but I wonder whether it isn’t possible to create a way for photographs to carry time within them. When you’re going to sleep, you think about the stuff that happened to you that day, right? You might see some images, but they’re completely distant from what really happened—they’re hazy. You’re trying to recall something, and photography can also recall things in this way. Of course my photographs do function as some sort of record, but there’s no agreement between the photograph and my own recollection of what happened. The impression is completely different. I think using these effects of delay, reverb, and echo (in photographic terms, developing the film "badly" and so on) might be a way to alter the sensation of time in a visual way." (Mais Yokota, aqui)
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fotos das séries Nocturnes (2012), Bach Yard (2011) e Site/Cloud (2012-13)
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