Euphoric Serenity by Takeshi Sugar runs until Friday 28 February at Spitalfields’ Lomography Gallery Store.
London-based Japanese music photographer Takeshi Suga is fast making a name for himself thanks to his dreamy and nostalgic photos which can be described as ‘LSD in photographic form’. Emotional involvement comes first for Takeshi and listening to music while in photographic mode is essential to bring his vision to life in the truest sense. With a background in cinema studies and a history of taking snaps of rockstars for NME, Takeshi combines two of his biggest loves in his new collection ‘Euphoric Serenity’ now showing at Spitalfields’ Lomography Gallery.
What sort of feedback has the collection had?
It’s been going well so far, I think! A guy at Lomography Gallery Store East London told me that mine is probably the busiest exhibition ever held at the gallery. Much to my delight, many people came to the opening despite the tube strike and bad weather. They seem to be particularly impressed with the texture of my prints. I print on traditional Japanese paper, which has an iridescent texture. It fits so nicely with my style of photography.
Is this your first solo show?
I did have solo exhibitions before at the other Lomography Gallery Stores in Tokyo, Berlin and Madrid but this is the biggest and most comprehensive show I’ve ever done. Instead of showing images from one particular collection, I’ve chosen a few images each from five different collections. The idea was to showcase my work in a comprehensive manner. I almost wanted to call this exhibition ‘Takeshi Suga: A Retrospective’. In the end, I came up with a more appropriate title though!
Do you have a personal favourite photograph?
I’m really fond of ‘Cherry Blossom Slide’. Somehow I succeeded in visualising a utopia-like state of springtime in Japan. If I can choose to live in a photograph permanently, I’d like to be on that slide myself.
Which one has the most interesting story behind it?
May I nominate ‘That Summer Swing’ and ‘Paris, Flowers’? Serendipity plays an important role in my work and these two photos in particular are the best example of my beautiful relationship with Miss Serendipity. I took them in Paris two years ago. I had only a few hours and I didn’t even have a camera when I got off the train at La Gare du Nord. If interested, you can read the rest of the story here.
The photographs are captioned by your friend and singer-songwriter Alessi’s Ark, can you tell us more about that?
I wanted to have handwritten introduction and captions written for my exhibition to help create a warm and personal feel. I couldn’t think of anyone but Alessi to collaborate with. We have a mutual respect for each other and she did a wonderful job on her wording of the world I create through the lens. I hope her captions fuelled the spark of the viewer’s own imagination.
You clearly have a love for the psychedelic and nostalgia – where does this come from?
I think it comes from my love for music and films. I’ve been immersed in both for much longer than I have in photography.
Your work has been previously described as ‘LSD in photographic form’ – do you agree with this and how would you describe it in your own words?
I love how they described my work! Having said that, I’ve never taken LSD in my life, so I’m not the best person to comment on this! All I can say is I’d like to be a 21st century wizard of light and colours.
You work with analogue photography – what are some of the advantages of working this way?
I love it for its uncertainty and limitations. They can sometimes be seen as disadvantages but I don’t think so. Digital photography is, in many ways, free of uncertainty and limitations. I benefit from it a lot when shooting live music and weddings but I don’t feel the same magical vibrations as when shooting on film. And magic is what makes a photograph special and last longer, isn’t it?
Tell us about your personal influences and what inspires you the most…
To borrow the words of Ansel Adams, I bring to the act of photography all the films I have seen, the books I have read, the music I have heard and the people I have loved. As for cinema as inspiration, I learned composition and how to convey a story by watching thousands of films. I try not to dwell on one particular director for a single source of inspiration, though. I fear too much appreciation will interfere with nurturing my own visual language!
Are you now permanently based in London and how do you find this city as a photographer in comparison to others you’ve visited?
I’ve been here for three months now and I think I’ve finally started to find my feet. Through the exhibition, I met some exciting people and we’re talking about doing something together. The most thrilling thing about living in London for me is that the city is full of opportunities. Of course, they don’t come my way automatically. But if I work hard, I’m sure they will. I also initially did a Master’s in European Cinema at the University of Glasgow. After graduation, I got to stay and work there for two more years shooting predominantly for NME.
What other projects do you have coming up that we should keep an eye on?
I just did a shoot in Japan. It was for Cloud & Victory, a Singapore-based fashion brand, who produces ballet-inspired clothing. I photographed one of the most promising talents in ballet for their Spring/Summer Collection. We can’t wait to share it with you soon! I’m one of the contributors for a London-based artist collective I Scream Factory. We generated a lot of interest in 2012, which culminated in a one-evening only showcase at V&A. Now, we have a new show coming up here in London late spring and I will make brand new images for the show. On the music front, I’m on board for doing an album cover for one of my favourite artists. Exciting times!
