shashasha

Hiromi Tsuchida's "Ouroboros" consists of two interrelated series shot between the early 1990s and 2005. In 1991, after the end of the economic bubble that fueled Japan's extraordinary growth and prosperity in the 1980s, Tsuchida began a series he called "Industrial Archaeology," which focused on factories and other industrial sites of the bubble's key industries. Then, in 1993, he began an adjacent project called "Fake Scape," in which he photographed shops with flashy, eccentric designs found along highways and in the suburbs of major cities.
In "Ouroboros," the two series juxtapose and complement each other, with Tsuchida's colorful photographs depicting the visual chaos of industrial clutter and the emerging beauty of artificial landscapes.

“Today, in the year 2024, the advance of digital infrastructures is accelerating, the cycle of production and consumption transforms in ways beyond intelligibility by conventional concepts, and it seems as though it still drifts along with the continuously fluid situation. I believe that it is a meaningful practice to examine the status quo by looking back on those days of the 1990s.”
― from Hiromi Tsuchida’s afterword