Darwin values Masaki Yamamoto for turning his own family into an uncompromising photographic territory. Eviction, an orphanage, overcrowded rooms, disorder and affection belong to his biography before becoming images. In GUTS, proximity eliminates any distinction between photographer and subject. Like Tonomura, Yamamoto works from inside. Poverty is neither spectacle nor sociology: family becomes a living organism—chaotic, humorous, vulnerable—photographed without shame and transformed through the photobook into collective memory.
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