Only recently have I been able to admit to myself that I am a photographer. Though I’ve never felt a deep passion for photography, it has undeniably woven itself into my life. My routine begins with reviewing images, sometimes decades old, other times captured just yesterday. Each day, I strive to bring out the full potential in these photos.
I once attended a portfolio review in Tokyo, where a distinguished curator told me, "Of all the prints I’ve seen today, yours is the most beautiful." That comment meant a great deal, as I put tremendous effort into my work. Yet, unlike many photography enthusiasts, I don’t obsess over equipment or film. For me, the essence of photography lies in working creatively within the limits of whatever tools I have.
Ironically, I never set out to become a photographer—it seems photography chose me. My first camera, a simple Fujifilm compact, was bought with my small allowance when I was in junior high. My only aim back then was to document visits to historic temples; becoming a photographer was never part of the plan.
Me, behind a wet paint sign 2020
As a high school student, I came across a discarded camera and a Korean passport in a bamboo thicket near my home. I ended up using that camera to capture the last photo of my grandfather's life. Later, when my other grandfather passed away, I was given a small prewar camera as a memento. Then, as a university student, I took a Canon AE-1 I had found in the bamboo grove to a drag queen party, photographing the scene with no particular intention. These encounters seemed incidental, yet they introduced me to photography as a mysterious, recurring presence in my life.
I never embraced the title of “photographer” because I felt no strong desire to express myself or convey a particular vision. My background is in sociology, which taught me to see artistic expression as socially constructed, shaped by the context of each moment. Pierre Bourdieu’s influence was significant in shaping my view, leading me to question the idea of authorial intent and creative “genius.” This perspective left me less concerned with establishing my identity as an artist and more focused on capturing the broader social landscape within individual stories.
My view of photography is more sociological than artistic. In sociology, we examine individuals to reveal the underlying social, cultural, and structural forces shaping their lives. This approach resonates in American works like William White's Street Corner Society, which captures the intricacies of Chicago’s street gang life. Similarly, my own work does not seek to construct a new world or assert a grand personal vision; instead, I strive to reveal the invisible structures and social consciousness that shape our lives. Observing the individual often feels like looking at society itself, much like glimpsing a mirage.
I have little interest in obsessively exploring “myself.” I am more concerned with how photographs are interpreted within their own social context, knowing their meanings will shift over time. I feel out of place in the art world, where grand egos often dominate. Instead, I approach photography as a documentarian of what’s before me, with no intention beyond framing the moment as it is. My role, if I can define it, is to summon something beyond my own perspective—a glimpse into what I might call a “social unconsciousness.” If my work captures something nebulous yet essential about our times, then I can say my life as a photographer has been fulfilled.
Tomoaki Hata
Education:
Ritsumeikan University, BA in Japanese Law
Osaka University, BA in Sociology
Osaka University Graduate School of Human Sciences, MA in Sociology
Exhibitions:
Akimahen, Collection Lambert, France, 2004
U Can't Touch Dis: The New Asian Art, curated by Eric Shiner, Jennifer
Baahng Gallery, New York, 2007
The Night Is Still Young, Akaaka, Tokyo, 2010
The Night Is Still Young, Miyako Yoshinaga, New York, 2011
Anonymous Solo Show, YKG, Tokyo, 2017
Publications:
The Night Is Still Young
Akaaka Art Publishing (Japan) / PowerHouse Books (US), 2010
The Confession of Bearine de Pink, Pot (Japan) 2014
Anonymous Book Publishing, Akaaka, 2017
Dad Went on A Journey, Akaaka Art Publishing (Japan), 2025
Research/Translator/Advisor:
Japanese subtitles for" Somewhere to Disappear", 2013
Chronicle Kyoto 1990's , Mori Museum (Japan)2018
Japanese Photography Magazines 1880s–1980s, Goliga (Japan/US), 2023
Awards/Grants
2024 PISP honored mention
2025 B&W Street Macadam Award Finalist
2025 Gomma Photography Grant 2024 Finalist
Public Collection
Collection Lambert
French National Center for Visual Arts
Portrait of my grandfather, 1993