When we intuitively take our phone, frame a scene and shoot for a picture, we are looking for an image that we can merge into the narrative of what we are. Azuma Suguru is just another observer. Best known as AIRNUDE, the undercover photographer observes, shoots and offers us a close perspective to the mundane details of Tokyo – one of those cities alienated from other capitals, a source of inspiration for artists and filmmakers, a land of contrasts and decadent eighties futurist charm. Airnude offers a different point of view out of emptiness. He discreetly becomes part of the scene and lets us join the observation. He creates a ritual from a daily act – the thoroughness and the silences in his answers have helped us get his picture.
You defined Airnude as the combination of air, which means emptiness, and nude, referring to naked soul. Tell us a bit more about the metaphorical meaning of your name.
Airnude is a concept that I use to define my way of taking pictures. After a while I realized that this name has some Buddhist influences. I tend to wander around my street with an empty gaze and I simply take pictures as they get to my eyes. I consider this behavior to be a way of showing my deepest intimacy. Hence the concept of “nakedness of empty gaze” – a striptease of the soul.
Do you consider yourself a photographer? How would you define your profession?
I think a profession is meant to be something which makes you earn money. However, I think that being a photographer during a long period of time and still being fond of it is the most important of it all.
How did get involved with photography? What was your motivation for this project?
Little actions take place in the streets, sometimes. Photography is the best way to experience these scenes within everyday life. Witnessing one of those little moments is more intense and exciting than any other experience.
Your images often let us take a break from everyday life, away from crowded streets and restless activity. Was this the consequence of a planned intention to send a specific message, or did it happen by chance?
Everything is by chance. I think of taking pictures as a way of enjoying what is happening in a casual way. Every day I walk the same street and I observe those scenes and actions.
A pause in time and space and close attention to details usually lead to the creation of a story. Do you consider photography to be a means of visual storytelling?
For me, taking pictures is a way of enjoying casualness. I don’t think it is a means of visual storytelling. I think it is something improvisational, evanescent.
How has social media, specially Instagram, influenced your creative process?
Instagram is a fun platform because through Instagram we can see pictures of people we don’t know. I like discovering profiles from people from all around the world that take pictures in a similar way as I do – they influence me. At the same time, I like sharing my work and seeing the huge amount of people who like my pictures.
In Spring 2013 Tokyo, the movie that you made along with Taro Saito and Minory Hayashy back in 2013, we saw you at work. You recently edited your first photo book. Do you have any other projects in mind? Maybe an exhibition? What are your plans for the future?
Thank you for watching the film. Spring 2013 Tokyo was shot during a day in order to show how I work for my Instagram account. The movie was based on the idea of “realtime”. It was the first time that I took part in the shooting of a movie and I am looking forward to the next one, but I still don’t have any movie project in mind. I do have in mind a conceptual exhibition also based on “realtime”. My idea is to make people go through experiences inside an empty gallery space following the idea of realtime process.
