The photographs in Tamiko Nishimura's 2024 publication "Looking Back" were taken between 1968 and the 1970s. They range from photographs taken while Nishimura was still a student at a photography school, to explorations of Okinawa before the Reversion Agreement came into effect in 1971, to her travels in northern Japan. Her snapshots are at once historical time capsules and expressions of Nishimura's desire to see and experience. Though rooted in the snapshot tradition, Nishimura employs a diverse and engaging photographic language to capture her subjects, from flowers growing along a road to close-ups of a crying baby or a stunning shot of a couple holding hands and embracing the sunset. Throughout the book, Nishimura's photographs seem imbued with a strangely sentimental mood, as if she were looking back from a future perspective at the moment of their creation.

“I photographed every day and travelled a lot. Looking back, it was the time when I took the most pictures. Perhaps because I had been longing for the north since childhood, I often went to Tohoku, Hokkaido and Hokuriku in winter to experience the snowy season […]
In April 2024, I went to New York for the first time for my solo exhibition. I shot 12 rolls of film in one week, taking photographs in the car from the apartment I was staying in Brooklyn to the gallery in Manhattan, and walking around near the apartment.
I couldn't help but laugh as I was taking snapshots at the market in the park near my apartment, thinking that I was doing just the same, fifty years ago.”
― from Tamiko Nishimura’s afterword

-Book Size
251 × 190 mm
-Pages
168 pages, 113 images
-Binding
Softcover
-Publication Year
2024
-Language
English, Japanese
-ISBN
978-4-910244-39-6

Artist Profile

Tamiko NISHIMURA

Born in 1948 in Tokyo, Nishimura graduated from Tokyo Photography College (current Tokyo Visual Arts) in 1969. Her graduation work was a photography series of Jōkyō Gekijo (Situation Theatre), forefront of the underground theatre movement led by Jūrō Kara. After her graduation, she met Daido Moriyama, Kōji Taki and Takuma Nakahira, three highly influential members of the Provoke movement. She assisted them in the darkroom from time to time up between 1969 and 1970, while she continued her personal shooting on her travels. Later in 1973, Nishimura made her debut through the first publication “Shikishima” published by Tokyo Photography College, showcasing her photographs taken from 1969 to 1972 on her journeys around Japan including Hokkaidō, Tōhoku, Hokuriku, Kantō, Kansai and Chūgoku regions. She also began to travel to Southeastern Asia and Europe in the 1980s. Nishimura’s language of expression is poetic, spiritual and deeply personal. Looking back on her career, Nishimura describes it as a sequence of journeys, and she continued photographing with her nomadic lifestyle. Her photography, revealing what is beyond a journey, is a manifold portrait of life wherever she encounters.

Her main publications are “Shikishima” (Tokyo Photography College, 1973. Reprinted by Zen Foto Gallery in 2014), “vent calmoso” (Sokyu-sha, 2005), “Existence 1968-69” (graficamag, 2011), “Eternal Chase” (graficamag, 2012), “Kittenish...” (Zen Foto Gallery, 2015), “My Journey” (Zen Foto Gallery, 2018) and “Voyage” (Zen Foto Gallery, 2019), “My Journey II. 1968–1989“ (Zen Foto Gallery, 2019), and “My Journey III. 1993-2022“ (Zen Foto Gallery, 2022). Her works are included in the collection of M+ museum (Hong Kong).