Photograph © Tetsugo Hyakutake
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I first discovered Tetsugo Hyakutake’s photographs when curating the 2009 IPA Best of Show exhibition. His photographs of post-war industrial Japan were at once graphically arresting images of a landscape that was both familiar and alien, powerful and exhausting, brilliant and stressful. I am fortunate Tetsugo contacted me recently, to let me know about “Pathos”, an exhibition of the works at Alan Klotz Gallery, NY, now through October 30 as I had the chance to speak with him about his ideas about modern day Japan.
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Please talk about your ideas of “Pathos and Irony” as they pertain to power post-war Japan. What has been gained and what has been lost during this radical period of industrial and economic growth?
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The post-war Japanese nation believed that industrialization and economic growth was the only way to recovery from defeat, catch up with the West, and revive national confidence. Despite the loss of human lives, destruction of more than 60 cities, and a lack of raw materials, Japan became the second largest economy in the world in less than 30 years after the war ended. However, in the early 1990s, rising stock and real estate prices following industrialization caused the economic bubble to burst and since then the Japanese economy ceased growing, which is known as “Lost Decade”. I think the collapse of the economy and the “Lost Decade” have left little room to reflect upon and contemplate what was post-war development and what it means to be uniquely Japanese. By looking back on history, I want to bring light to the present.
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Although rapid economic growth was in a sense successful and made living standards rise materially, at the same time we sacrificed lot of things, such as beautiful landscapes, agriculture, human lives, and we also suffered from things such as air pollution and water contamination.
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I focus on the ironic duality of beauty and dehumanization inherent in industrialization. “Pathos and Irony” lies between them, and while there is no visual evidence of human life, the industrial structures cannot be stripped of the sense of humanity that surrounds them. These opposing values epitomize the paradox of society after industrialization. Also I give a tribute to those who toiled to make it possible for Japan to become an economic superpower after World War II. I strive to depict this “pathos” as well as other emotional complexities that go hand in hand with the advancement of modern society.
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Embedded in my images is also the investigation of “pathos” in relation to historical, social, and economic issues involving industrialization and urban development. By expressing feelings of isolation, loneliness, and emptiness that underlie this “development,” I seek to provoke the question of whether society is truly advancing through industrialization.
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Photograph © Tetsugo Hyakutake
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Why did you decide to focus on documenting the industrialization of Japan?
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From the 1970’s to 1990’s, my father had been involved in the Japanese car industry as a car designer. When I was twenty years old, he died from cancer caused mainly by overworking. When I see industrial buildings in Japan or even in other countries, it always reminds me of my father. I still remember how hard he was working during my childhood. Japan obtained strong economic power by the development of industrials, however personally I sacrificed my father’s life. I wanted to express my complicated emotions through my photography to monumentalize his life. That was the beginning of this project. Afterwards I began to focus on post-war development led by industrialization.
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Photograph © Tetsugo Hyakutake
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How do these images represent the aesthetic of contemporary Japanese culture, politics, and thought?
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I think contemporary Japanese culture is based on cultural traditions, embracing western culture, individual interpretations, and industrialization. I am not sure how these images represent the aesthetic of “contemporary” Japanese culture. I attempt to connect historical, economic, and social issues of post-war Japan with personal experiences and the voices of my generation by showing the photographs of industrial and urban structures as a symbol of contemporary Japanese culture. By doing so I am trying to forge my Japanese identity, which is what means to be Japanese in post-war Japanese society.
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My photographs visually depict how chaotically Japan was re-constructed after the war; in contrast they also show exquisiteness in the complex structures, and I think this duality of issues is one aspect of the aesthetic of contemporary Japanese culture.
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Photograph © Tetsugo Hyakutake
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What do you see as the relationship between the beauty and dehumanization of industrialized Japan?
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There are dual issues of beauty and dehumanization in industrialization. In these photographs of industrial and urban structures, I emphasize its beauty by altering visual elements to accentuate the grief of industrialization. The more beautiful the photograph looks, the deeper the grief becomes. This concept of beauty originates one of the concepts of traditional Japanese culture such as “Wabi”. I have been looking for Japanese identity, so I embed the essence of Japanese aesthetics into my work.
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Photograph © Tetsugo Hyakutake
Photograph © Tetsugo Hyakutake
Photograph © Tetsugo Hyakutake
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How have your photographs been received in Japan?
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I have not shown any of my work in Japan yet. But I will look forward to doing so. I did not choose the audience, but I would like to show my work to Japanese people and look forward to hearing their response.
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One day I contacted the executive of a certain shipbuilding firm to ask a permission to photograph their shipyard, explaining my theme and concept. He did not like the idea of pathos upon post-war development. He was in his mid 50’s, among a generation that achieved spectacular economic growth and experienced economic prosperity. I assume that he wants to believe the post-war development was absolutely right.
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