Charwei Tsai’s latest series of works tells the sung stories of people living far from home in precarious living conditions and uncertain legal status. Together with her partner and filmmaker Tsering Tashi Gyalthang, they visited marginalized communities in Nepal, in the UK, and in Taiwan, recording voices of sorrow and longing, but also of hope.
Okinawan artist Chikako Yamashiro draws from contemporary social issues, nature, and some of her homeland's deepest historical scars, in particular, the Second World War, to create work that kindles hope in the hearts of oppressed peoples around the world.
Although much of Hiromi Tsuha’s work is strikingly different, there’s one central theme that is always present. From reconstructing her father’s house to recreating the homes of her friends on the steppes of Mongolia, these pieces of art all tell a similar tale. They are symbolic of home.
Mao Ishikawa's latest autobiographical collection, Red Flower, gives us a candid glimpse of life as she knew it between 1975 and 1977 in Okinawa when occupation forces, the U.S military, brought not only arms and guns, but a taste of what life could be should the locals live without conforming to their cultural environment.
For Japanese photographer Takashi Homma, darkness is special in a world that "overflows with light." In his most recent book titled The Narcissistic City, he goes back to the past, to the origins of photography, to explore and question the role of the photographer in image-making.