SELECTED PRESS + RESUME / HOME

In December 1990, Satoru Yoshioka started his fine art photography career at Berlinische Galerie / Martin-Gropius-Bau (Berlin) as a part of Young European Photographers ’90. Since then, he has exhibited his works internationally in galleries and museums. His photographs also appear in several photography magazines in the United States, Germany, France, Spain, and Japan. In 1998, his photographs were selected to be in the permanent collection of The Museum of Photographic Art (San Diego). In August 2001, he received an immigrant visa as an “Alien with Extraordinary Ability” from the U. S. Bureau of Citizenship and Immigration Services for his fine art photography. To acquire this status, he was recommended by The Museum of Photographic Art (San Diego), Museum of Contemporary Art , Denver (Denver), The Museum of Art, Kochi (Kochi), The Special Photographers Company (London), Agency VU' (Paris), Nippon Polaroid K. K. (Tokyo), Photo Gallery International (Tokyo), Gallery Past Rays (Yokohama), and Simayspace Gallery (San Diego).


From GQ Japan: (January 2000. No.83, p.175 “Art”) Text by Naoko Aono
:Satoru Yoshioka, Photo Exhibition December 21, 2000 at Gallery Past Rays
Pictures taken today appear to have been photographed quickly, like snapshots without calculation. Documentary-like pictures are booming now. I think that photographers who make pictures elaborately are decreasing, but Satoru Yoshioka could be the exception. He treasures personal images, which are not hastily captured. Mr. Yoshioka has been active around Europe and America as a fine art photographer. He has been selected for Young European Photographers '90. Mr. Yoshioka was the first Japanese to receive this title in 1990. Claiming to have been deeply influenced by German expressionism, he creates peculiar but well-composed pictures: his images are filled with light and soft textures. I cherish his photographs because they have been perfection from every stage of the their making: shooting, developing and printing. I could see the photographer's emotions and the unqualified beauty that a human body just shows only in a moment in his images.

From Photographies Magazine (France): (June 1996, p.77)
The exploration of the modern qualities in a medium that is mobilizing an ensemble of creators. Satoru Yoshioka, by manipulations of Polaroid film, gives his still-life and portraits a real power of fascination.

From Camera & Darkroom: (June 1992, p.23–24) Text by A.D. Coleman
:Japanese Photography in the U.S.Today
Yoshioka works with Polaroid P/N film, manipulating his materials during exposure and development to produce strange effects — emulsion damage, curious perspectival distortions, the tonal reversals of solarization, and more. The resulting nudes, still lifes, and portraits contain elements of pictorialism and early modernism, but they seem to have been filtered thorugh somebody’s dream — a bit like pinhole imagery for the skewed spaces of the 'thoughtographs' of Ted Serios.

From Nippon Camera: (May 1994, p. 119 “Who’s Who”) Text by Hiromi Nakamura — Assistant Curator for Tokyo Metropolitan Museum of Photograhy
:Japanese Photographer from Europe
Through my job and hobby, I have opportunities to see many magazines. Usually, I do not recall a lot of images or phrases from them. My home in Tokyo is very small, so I always cut out the images from magazines, rather than saving the whole magazine. Sometimes, I keep the whole magazine because it contains a lot of valuable information. For example, European Photography Magazine (January 1991 issue), could be such a magazine. Eleven photographers’ images have been published in the magazine as the “Young European Photographer ’90.” Satoru Yoshioka and Dirk Braeckman (a very important German photographer worth mentioning) are two of the eleven photographers that were selected by the internationally and professionally well-known juries from Europe. Mr. Yoshioka stated “At the beginning of this century many painters made use of photography. Instead of reaching for paint and brushes, they reached for a camera. As an artist and photographer I would like to go back to that time and paint by using photography.” His ambiguous images and statement make me consider his photographs as having more of an European sense, rather than a Japanese one. Three years later , I unexpectedly received a letter from him. In the letter, he said that he read my article, “Berline, Angle, Poem” which was published in Nippon Camera (November 1993). The article reminded Mr. Yoshioka of how much he missed Berlin. He had visited Berlin because of his opening reception for his exhibit at Martin Gropius Bau Museum. At the same time of his opening, the Berlin wall had fallen. Mr. Yoshioka had an impressive debut as a fine art photographer in Europe, yet, he likes San Diego as his work place. His photographs are strongly influenced by German impressionism. He uses only Polaroid P/N films. He believes that this film is easy to use and that the negative is very sharp. “I try not to manipulate images, however, sometimes it happens. I enjoy happy accidents and when I push the shutter, my job is over.” This summer Mr. Yoshioka is planning to be in a group exhibition at Aperture’s Borden Gallery in New York City. I am looking forward to seeing his exhibition in Japan.