Masahisa Fukase's eccentricity, radicalism, and experimental style have been linked with the word obsession. Western outlets often describe Fukase as a photographer obsessed with photographing his wife, ravens, and many other subjects. But did photography really destroy his life and career as many claim? There's only one way to find out.
Coming to you from Tatiana Hopper, this insightful video explores the life and work of Masahisa Fukase, a photographer whose passion for his craft bordered on obsession. His family ran a successful photo studio in Hokkaido, which likely sparked his early interest in photography. Despite moving to post-war Tokyo in the 1950s for education and career, Fukase never stopped capturing images of his native land and family. After graduating from Nihon University College of Art in 1956 and working for advertising outlets, Fukase became a freelance photographer in 1968, beginning a lifelong exploration of the meaning of photography and self-identity.
Fukase's work is brilliant and autobiographical. His images, which might appear mundane to many, reveal a deep introspection, painting a dual portrait of the subject and the photographer. He photographed everything from street scenes to his favorite places, pets, and people. Fukase's life, as depicted through his work, was ruled by emotion, with highs brought by love and lows taken by depression. He once said, "I work and photograph while hoping to stop everything," hinting at his possible obsession with capturing life.
Fukase's 1991 book, "Family," includes images taken as early as 1971. These portraits disrupt traditional family portrait norms, asking viewers to reconsider their perceptions. He said of this work, "My entire family, whose image I see inverted in the frosted glass, will die one day. This camera, which reflects and freezes their images, is actually a device for archiving death." This statement reveals the pensive and somewhat depressive nature of Fukase's personality.
Before his acclaimed "The Solitude of Ravens," Fukase created works such as "Kill the Pig" in 1961, which brought him recognition. This project, set in a Tokyo slaughterhouse, juxtaposes scenes of fear and pain with a series of intimate portraits titled "Naked," showcasing Fukase's life of contrasts and excess. Photography, rather than a source of obsession, may have been a way for him to process the events and emotions in his life.
In the late '60s and early '70s, Fukase met and married his second wife, Yoko. He photographed her extensively, capturing intimate and sometimes voyeuristic images. Despite their separation in 1976, Yoko remained close to Fukase for the rest of his life. His work shifted focus to photographing ravens, a symbol of his pain and melancholia, until he married writer Rika Miki in 1982.
Fukase's life took a tragic turn in 1992 when he fell and suffered a traumatic brain injury, leaving him in a coma for 20 years. His final works, including "Hysteric 12" and "Buku Buku," are considered some of his greatest. Despite his incapacitation, Yoko visited him regularly, maintaining their bond. Fukase's life and work are complex, revealing a man who used photography to understand himself and his surroundings. Check out the video above for the full rundown from Hopper.
