Men's Curious Approaches to Life

──What are your impressions upon entering the Canon Gallery space?

TatsukiExhibitions by a single photographer are common, but this three-person show is quite stylish, isn't it? Each of us is a photographer with our own history. Especially this time, there's Emile Moureau, a shrewd adult photojournalist, and Bernard Matussiere, who studied under him and also worked as my assistant in Japan. This exhibition came about through such curious connections, and I want Japanese people to know Emile's work.

──What do you appreciate about Emile Moureau's photography?

TatsukiThere are many types of photojournalists, famous and unknown, but with Emile, what's remarkable is not so much his position within journalism, but his ability to capture this era accurately. Each photograph is interesting, and you can imagine many things from the photo of Picasso wearing a tie. Emile himself is present in his photos. In other words, the traces of the photographer being at the scene remain.

──This photograph of Picasso was taken during the post-war peace conference in Poland, wasn't it?

TatsukiIt's a rare photo of him looking tense. Emile had a great sense of distance. You can't capture photos like this by aiming for them. Emile transcended being just a photojournalist. He never said things like correcting or denouncing the times through photography; he was that kind of person. Neither Bernard nor I can surpass Emile.

──Bernard, you were Tatsuki-san's assistant?

BernardYes, I came to Japan in 1971 and worked as his assistant for about two years.

TatsukiForeign assistants were rare back then, and he even appeared in magazines like 'an・an', becoming quite popular (laughs).

BernardI was 21 at the time, and there were four assistants to Tatsuki-san. When I first came to Japan, it felt like being thrown into the army (laughs). For the first three months, I didn't understand anything and disliked it. Then, by observing the seniors and starting to understand Japanese people, I began to like it. I learned not only diligence but also about life itself.

──What did you learn from Tatsuki-san?

BernardFrom Tatsuki-san, I learned how to live as someone who takes photographs.

The Charm of Monochrome: Connecting with the Viewer's Emotions

──All the works in this three-person exhibition are monochrome photographs, aren't they?

TatsukiEmile's era was monochrome. Bernard also likes monochrome, right? With monochrome, by stripping away color, there's a sense of the viewer's emotions connecting. Someone once said, 'Monochrome is like radio; you engage with it by lending an ear.' You, and everyone who comes to this exhibition, have navigated through a flood of color to get here. Upon arrival, you've finally become a proper human being (laughs).

──What is the aim of your submissions for this exhibition?

TatsukiFor example, living in Tokyo, I see the city being destroyed and place names changing. If we don't photograph and preserve these things, the 'core' of Japan will disappear. Nowadays, foreigners often know more about Japan than Japanese people do, so it's essential for us Japanese to know our own country. I want to pretend to know Japan well. I continue to photograph things that don't change, but ultimately, I want my photographs to have elegance. If you see them and feel a certain unpretentious power, please praise me for it (laughs).


──The three of you have distinct photographic styles. What have you been up to recently, Tatsuki-san?

TatsukiSince the advent of digital, I've been taking more photos than before. Photography has become more interesting. Even for professional photographers, the eye used for shooting and the eye used for selecting are different. The healthiest way to engage with photographs is to show them to no one (laughs). Keep the photos you like in a drawer, look at them quietly, and if you think they're good, that's enough (laughs).

──Seeing the prints here at the exhibition feels special, doesn't it?

TatsukiDoesn't it? Prints viewed by reflected light are better than looking at them on a computer screen. I believe monochrome photography is brimming with the essence of photography.



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