By Aileen Torres
Manabu Yamanaka is a photographer whose work is distinctly disturbing. Disturbing because the five series he’s accomplished thus far—“Arakan”, “Fujohkan,” “Gyahtei,” “Dohshi,” and “Jyoudo”—all focus on societal outcasts, like street people, the elderly and the physically deformed. Distinct because he chooses his subjects according to how well they personify certain tenets of Buddhism; primarily the disregard of the flesh for transcendent spiritual aims.
“I saw some of his work, and I was so shocked and impressed,” said Stefan Stux, director of the Stux Gallery (530 West 25th Street, 212.352.1600), which represents Yamanaka. Stux first encountered Yamanaka’s photography at “The First Steps: Emerging Artists from Japan,” an exhibition at NYU’s Grey Art Gallery in 1997. “I couldn’t get it out of my head. I thought it was extraordinary.”
Yamanaka, who lives and works in Tokyo, was born in Hyogo, Japan, in 1959. His images have been exhibited throughout Europe and North America.
The following is a written exchange between Yamanaka and the writer, via a translator
Aileen Torres: Buddhist concepts and preoccupations seem to inform each of your works. Are you a practicing Buddhist? What draws you to Buddhism as an artist? If you are a practicing Buddhist, what is it that draws you to create art as a Buddhist?
Manabu Yamanaka: Although all of my work is affected by Buddhism, I am not a practicing Buddhist. However, I always hope that I gain more understanding of Buddhism every time I finish a project. In other words, I show my work as a consequence of my understanding on the theme of the project. Sooner or later, after I finish one project, I come up with an idea or have some questions; therefore I [begin] looking for subjects to resolve my questions. This is my creative cycle. My questions might be philosophical [ones] which have no answer. I think that not only Buddhism but all religion exists because people wish to be free from fear of their mortality. We never get the right answer while we live.
AT: How do you see your relationship with the subjects you photograph in light of Buddhism?
MY: I wish to reflect an interesting practical philosophy of Buddha and my developed thought [while] shooting [and] through my [resulting] pictures.
One day, when I saw 16 disciples of Buddha in a portrait, I realized that they looked like beggars with rags. Since then, I [started] looking for beggars all over Japan who [would give] me the same impressions [that] these 16 disciples [in the portrait had given me]. However, I never met one that [gave off] the same shining [impression] as the 16 disciples. In the end, I took photographs of several hundred beggars. Once they became the subject of my pictures, I found that they started shining as sages. In “Arakan,” my first series of work, I settled for their brightness in a sense of appearance, even though they are not spiritually splendid, like disciples. I pursue only the appearance of subjects and have “a cold eye” to look on subjects as things.
AT: Many of your subjects are physically frail, but they seem very cooperative and almost happy to pose for the camera. How much time do you spend with them in order to take what you think are the best photos? For example, what is the story behind Gyahtei?
MY: The time for shooting is not so long, but you have to observe a subject and understand it. When all conditions are satisfactory, you start shooting. Through [all my] projects, I take several years [to] decide on a theme and finish shooting. I take photographs relying on instinct and the five senses.
Since we all share the same fate of having to live our lives [with] the agonizing fear of growing old and dying, I am driven by a desire to spend the life I have been [given] by capturing on film the physical images of those who have lived full lives. From this way of thinking, I started the series of “Gyhatei.” So I started to [get to] know the old [women] about a year before shooting this photo. I had taken care of [their] daily needs, bathing, feeding, reading to [them], as well as taking [them] to the toilet. So we had developed an intimate relationship. [They] became comfortable being naked in my presence.
AT: Each series of photos has subjects that are atypical — each group is outside of mainstream society, either by choice or chance. What compels you to photograph these people?
MY: A Buddhist concept: “Everything in this world has bodhisattva,” [a divinity that] transforms into a human being or thing and comes to us to save [us from] our suffering. I think that things people don’t want to look at give a message to us. The subjects I chose in the past are beggars [“Arakan”], corpses [“Fujohkan”], old women [“Gyahtei”], handicapped people [“Jyoudo”], and refugees. All the subjects are outside of mainstream society, but they give messages to us when we look at them in the life-size pictures. My quest is to seek out splendid beauty among ugliness.
AT: Where do you look for and find subjects to photograph? Do you specifically seek out subjects, or do you leave it to chance to present a subject to you when you’re not really seeking it?
MY: First of all, I decide on a subject for a project and then study and research the subject. And the next step is planning out picture composition [while] at the same time scouting, casting, and thinking about the other details. Finally, I start the new project if I convince myself that all of the above is in place. Usually it is not so easy, so I’m constantly making changes. I always find the appropriate way of shooting after I start. I believe that there is always a way through a difficult project.
AT: You seem to practice asceticism as an artist — for example, when you were preparing to do “Dohshi.” Do you live ascetically on a daily basis, or do you practice asceticism only when you are ready to do, or are working on, a project? What is your goal when you practice such austerities?
MY: I live a simple life style in Tokyo, but don’t take any special steps to live ascetically. I need an eye to judge objectively even though I am in the midst of terribly shocking surroundings. While shooting the “Dohshi” series I experienced things as Buddha might have 2000 years ago. The conditions included no water supply, no electricity, and no information system; just a very poor community. After staying there a few months, I was touched by the purity of the children. I then started shooting the children, and I tried to feel no strong emotion. I chose to keep [a] very emotional distance because I knew I only wanted to take pictures of them.
AT: What are you working on now?
MY: I am working on the series of “The Moment to Be Human Being.” I cannot explain any further. Please wait for the completion of the project. I will let you know when the time comes…
Aileen Torres is a New York City-based freelance writer who specializes in cultural affairs.
Photos from his five series, clockwise from lower above to bottom of artiicle,