#04

MOTOKI

posted 2020.November

MOTOKI

BIO

Born in 1961, Motoki graduated in Physics from the Tokyo University of Science. She lives in Chiba prefecture. Despite the busy day-to-day of working as an attorney, Motoki pursues her photography career with vigour. She has produced series' on fighting dogs, sumo wrestlers, whaling and more that pursue the theme of the interconnectedness of life. At times her work portrays a harshness that cuts to the bone, evoking surprise that it was shot by a woman -- feedback that Motoki treasures most. She has enjoyed considerable success in competitions and awards both in Japan and overseas. Her work has shown at Festiva Photo La Gacilly 2016, and Kyotographie KG+ 2020, and has claimed numerous first places in the documentary category of the Prix de la Photographie (PX3) competition RED edition. Motoki is currently based on the Boso Peninsular in Western Japan.
www.k-motoki.com

1961年生まれ・千葉県在住。東京理科大学理工学部物理学科卒。弁理士として多忙な日々を過ごす中、プライベートワークの活動を精力的に行っている。「闘犬」「相撲」「捕鯨」など命の繋がりをテーマにした作品を多数の発表。その荒々しくも真っ直ぐに射抜いた作品群は内外のコンテストでも注目を浴び、多数の賞に繋がった。これは女性が撮ったのか!?そうした感想が多いのはMOTOKIにとって最大の賛辞である。Festiva Photo LA GACILLY 2016、Kyotographie KG+2020参加。PX3 RED competitionのDocumentary部門1位他多数。現在房総半島を拠点に活動。
www.k-motoki.com

CV

I began taking photographs as form of art after the age of 50.
As a single mother, when my children were small, I was busy providing for my family and had no time to take photos. It wasn’t easy, but looking back, those days feel like the blink of an eye, and were fulfilling in their own way. However, once my children were older I began to feel as though there were some things I had left unfinished.
The beginning of my photography came when I returned to India, where I had visited in my youth. Animals had always piqued my interest, and looking at India’s large population of stray dogs, I noticed that these animals had a society of their own. My series on stray dogs was the culmination of numerous trips back there.
Next came Sumo. Although it is a series on people, the rituals within originated as offerings to the gods, and are conducted in silence and without expression. For me, rather than a contest between people, I wanted to project the sacredness, and moreover the mystical nature of Sumo.
Then came my work on dogfighting, focusing on the dogs fated to a life of fighting. Dogfighting is disappearing now, due to severe criticism from the public. Along with my own advancing years, this drew my attention to other instances of disappearing culture, leading to my series on whaling.
The region where I live, the Boso Peninsular, has long been home to a whaling tradition. More than just a food source, whales are revered as bringing great blessings to the people, and tombs that serve to deify whales remain there to this day, as do festivals honouring whales. However, the circumstances surrounding whaling are becoming more severe year by year, and whaling is decreasing. As a part of my home, the series is the result of a feeling that I wanted to preserve whaling in photo.
Until now I have photographed things that have resonated with me. I still feel drawn towards animals, and I have numerous thematic ideas still in the formative stages. Moving forward, I hope to keep exploring how I might visualise these themes.

MOTOKI, November, 2020.

作品としての写真を撮り始めたのは、50歳を過ぎてからです。
シングルマザーなので、子供が小さい頃は、生活費を稼ぐことに忙しく、写真を撮るような余裕はありませんでした。大変でしたが、今思うとあっという間で、それはそれで充実した毎日でした。しかし、子育てが一段落すると、いろいろやり残してきたことがあるような気がしてきました。
そこで、まず、若いころ旅したインドを再度訪れたのが写真の始まりです。
もともと、人間より動物のほうに目が行くのですが、インドで多くの野良犬に気づき、野良犬には、野良犬の社会があることを知り、その後も何度かインドを訪れてまとめたのが野良犬シリーズです。
次は「相撲」で人間のシリーズなのですが、もともと神々への奉納のために行われ、無言で無表情で行われる相撲は、私にとって人間の戦いというよりも、神聖且つ神秘的な儀式として写りました。
そして闘犬シリーズは、戦う運命を背負わされた犬達に焦点を当てています。闘犬は、世間からの風当たりも強く消えつつあるのですが、このあたりから、自分の年齢もあり、消えつつある文化に引かれ、次の捕鯨シリーズへと続きます。
私の住んでる房総半島では昔から捕鯨が行われています。鯨は、ただの食料というよりも、人々への多大な恵みをもたらすものとして畏敬の念をもって扱われ、今も鯨を祀る鯨塚が残り、鯨祭りが行われています。しかし、捕鯨を取り巻く状況は年々厳しくなってきており、規模は縮小されてきています。地元でもあり、今、記録として残しておきたいと思い、まとめました。
今まで、その都度、心が惹かれたものを撮影してきました。今も、やはり動物関連ですが、まだ、どう取り組んだらいいのか模索状態のテーマがいろいろあるので、今後も、これらを視覚化していきたいと考えています。

MOTOKI, November, 2020.