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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
selected to be in the permanent collection of The Museum of Photographic
Art (San Diego). In August 2001, he received an immigrant visa as
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
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
He has been selected for Young European Photographers '90. Mr. Yoshioka
was the first Japanese to receive this title in 1990. Claiming to have
influenced by German expressionism, he creates peculiar but well-composed
pictures: his images are filled with light
and soft textures. I cherish
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.
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
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.
Camera: (May 1994, p. 119 “Who’s Who”) Text by Hiromi
Nakamura — Assistant
Curator for Tokyo Metropolitan Museum of
: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
is very small, so I always cut out the images from magazines, rather
whole magazine. Sometimes, I keep the whole magazine because it contains
a lot of valuable information. For example, European Photography Magazine
1991 issue), could be such a magazine. Eleven photographers’ images
have been published in the magazine as the “Young European Photographer
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
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
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
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.