-Were you confident that you would win a prize?

This was my first time I have entered New Cosmos of Photography. I was not very familiar with the award, but I secretly thought I had a chance to win. I’m very happy that my work was selected by Nobuyoshi Araki, my favorite photographer. I was dubious about winning the Grand Prize though, because this is a straight work mainly in black and white. In every respect, this belongs to “Old Cosmos,” not “New Cosmos.”

-Why did you choose New Cosmos of Photography to enter?

If I ever planned to enter a competition, I have decided it would be New Cosmos of Photography. I wanted to compete for a well-known award, and above all, it was important who the members of the jury were. I wanted to have my work examined by Nobuyoshi Araki and Daido Moriyama.

-How did you start taking photos of your mother?

I began to take photos when I entered a college of photography. Before that, I did not take photos for myself. But, I remember that I was often impressed with large portrait photos in publications such as magazines. At the beginning of my study of photography, I used to take photos of strangers who I happened to speak to in town, but I felt that something was wrong doing it. Then I thought that I should take photos of people who were familiar to me, so I turned to my mother. Immediately, I thought that it was the very thing that I wanted to photograph. I continued taking photos of my mother for a whole year after that.
Strangely, while taking photos of my mother, the compressed feelings I had for her until then gradually di sappeared. There was a time when I hated to look at prints of my mother. Probably, at that time, I was confronting my mother through the photos. As I printed, organized, and sorted them out, I could compose myself.
When I brought the photos together, for arrangement, I didn’t waver over how to show and construct them. It was clear to me from the beginning how the form should be.

-The black-and-white prints were impressive.

I don’t use a digital camera, and I don’t process pictures either. I like black-and-white images. They are just right for me, and I might be a little old-fashioned. As a viewer of photos, I’m more fascinated by rough and flawed photos than beautiful prints. Also, I prefer photos that look into people. The raw quality in Nan Goldin’s* work attracts me.

-Are you particular about taking portraits?

It is possible to say I’m little interested in nothing but taking portraits. I think that landscape photos are pretty, but there is nothing as interesting as a person as a subject. A documentary photo of a person is exactly what I regard as the true worth of photography.

-Then, your next work will be a portrait as well?

I think so. I have a theme in my mind, that is, “someone’s death.” I’m now photographing along that theme. The location varies, but there is always a person playing a central part.
My winning the prize didn’t have a marked impact on my situation. As I graduated from college this spring, I’ll be able to take pictures more freely from now on. Also, I’d like to have opportunities to see various things so that I can see things in perspective.
I usually take photos while making sure of my feelings, so I don’t think I can create a lot of works at one time. I want to take my time and accumulate pictures, and when I have a satisfactory collection to show, I’d be happy to hold a solo exhibition.

*Nan Goldin
Photographer. Born in Washington D.C. in 1953. She started taking photos in her teens, and produced works in which her lover, friends, herself, and other familiar people were subjects. Her photo books include “The Ballad of Sexual Dependency,” and “Double Life.”