21 ott The book’s space interviews: Immerse
Photographs: Daisuke Yokota
Book design: Valentina Abenavoli
Editor: Akina Books
Date of publishing: June 2015
N° of copies: 300
Dimensions: 21×30 cm
Binding: Softcover, Smyth sewn binding
Paper: Akina Xerox printing on Fedrigoni Arcoprint
THE BOOK AS A PROJECT
Which are the 5 indispensable pictures for this book?
Photographer: Everything is indispensable.
What is the framed structure of this book?
Book Designer: ‘Immerse’ explores a man/woman relationship through poetic suggestions and recurring elements. The structure is loosely built around micro sequences and intuitive associations.
How did you choose your book designer?
P: We decided to collaborate together because of the mutual respect of the work of each other. We were able to share a feeling more than words, which is very important.
What was your approach to get into the photographic project?
BD: Because of the abstract nature of the work, the approach is a personal interpretation on an emotional level, with the aim to contribute to Daisuke’s vision and highlight his strengths.
How did you develop the work on the book?
P: It is the most personal project I made so far, inspired also by the Japanese literature. The work is built around the word ‘nostalgia’. It is not a mere documentation of my personal journey; it is more like a novel in which I am the author and main character at once. The intimacy between a man and a woman shows a dissolute time they share in their journey together.
BD: ‘Immerse’ follows and develops the narratives of ‘Linger’ and ‘Teikai’, first and second book of the trilogy, of which it is part of. For this reason, the work has a hidden storyline that naturally came out of the “work in progress” attitude we both decided to apply since the beginning together with Alex Bocchetto, publisher of Akina.
THE BOOK AS A STORY
Which narrative slant did you choose for this book and why?
BD: In ‘Immerse’ my personal journey is disguised in his. It is maybe the most feminine and sometimes contemplative of the three works, yet it completes the exploration of the topic in an efficient way. If we had the glow of the couple sharing erotic moments in the first book, and his wandering in the night on the outskirts of the hotel room in the second, this third book seem to leave the woman in the same room, alone. There is an unappeased yearning to return somewhere, an irresistible voice calling to immerse yourself and remember.
What’s the difference between the book and the photographic project slant?
P: If photography remains visual, the book amplifies the senses of touch and smell, giving to my work a more intimate aspect.
THE BOOK AS AN OBJECT
How did you choose the materials and the kind of printing?
BD: The paper chosen, a Fedrigoni Arcoprint Edizioni with 1.7 of bulkiness, has an incredible texture and a warm tonality. It could not be otherwise since the nature of the work. The printing is Xerox, the same technique Daisuke started his career of book maker with. Both choices, paper and printing, are coherent and complementary with the work. We decided to keep those elements fixed for the three books, although the design of each chapter is very different.
How the materials’ choices are connected to the photographic project?
P: Because of the trustful relationship we share, I leave to the publisher this choice. Every time was surprising and I could not be happier.
You can also find all the interview archive on 3/3 blog: www.treterzi.org