...“I purposely eliminate the sense and context of my origin from my work to avoid being seen/treated with an orientalism aspect, or post-modern contexts such as so-called diversity or as a minority in the West. I think that is why the work has been grasped with a heterogeneous aesthetic and definition both in other continents and my native Japan.”

Satoshi Fujiwara’s work often evokes a sense of claustrophobia through either the tightly-packed juxtaposition of edited images, or through extreme closeups of his human subjects that leave no room for breath or comfort. In the era of COVID-19, where many of us live in worlds that have been shrunken to encompass the perimeter of our homes, Fujiwara aims “to seek a new visual language to render that. The general perception in space and our sense of distance has been changed by the pandemic accordingly, people’s perception of images might also be changed, in the sense of temporality and spatiality.” After all, the effect of looking at a massive installation in person in an airy gallery differs dramatically from viewing images of that installation, stretched only as far as our laptop screens allow. Of his new work in King Kong #10, Fujiwara remarks that his new approach highlights what he calls “image production in the time of circumscription.”...

Fujiwara got an interview with King Kong Magazine. The issue #10 is available to pre-order now/ out Oct 8th on newsstands. Also, several images from his recent study are featured.