Hello! My name is Ryo.
I built this website when I was an avid photographer.
My efforts as of late and in the future will be concentrated in my business.
Now I know what Hitchcock meant when he said "a clear horizon."
Thanks for visiting!
I don’t think there’s any artist of any value who doesn’t doubt what they’re doing.
Interviewer: What do you see as some of the major differences between being a kid and an adult?
Tupac: Children see things so great. What happens is that adults complicate things, and children don’t. It’s as simple as this: “the sky is blue”. And the adults wanna go “Well, the sky is blue because..” Everything wasn’t meant to be analysed. And that’s where our problems come from and I think kids are happier. Kids are definitely happier, and more relaxed than adults.
And this is just the tip of the iceberg of his wisdom, perspective and incredible sense of awareness of the self and society.
It’s fascinating to me to imagine his life since then, the events contributing to his bitterness and disillusion with society, forcing him to adopt a more violent and aggressive spin on his own idealisms.
He was ultimately gunned down to death by a faceless killer at the tender age of 25, but I feel if he had only retained this sense of respect - a clear moralistic drive for him at the age of 17 - the final chapter of his life might have been drastically different.
His mistake was that he chose to be loud; not just loud, but the LOUDEST. But it’s that very same characteristic flaw that makes him the baddest-ass in town. I love him for that.
But could he have been smarter? Louder not for the aim of “doing what I wanna do”, but for the sake of things he wanted to change?
Considering he is dead (and most likely won’t be returning as Black Jesus), I suppose this is a pointless question. But perhaps there is a lesson for any of us who want to live, take a stand, and make a statement that changes the way people think about their own lives and the society around it.
Be a badass, do what you want, do it really f**kin’ loud. But take a step back every once a while. Listen to yourself. Then pick up that guitar, pen, camera - whatever is your creative weapon of choice. And be the loudest (but sensible) badass you can be.
The right idea will fly.
I have looked in the mirror every morning and asked myself: “If today were the last day of my life, would I want to do what I’m about to do today?” If the answer has been “No” for too many days in a row, I know I have to change something. Remembering I’ll be dead soon is the most important tool I’ve encountered to help me make the big choices in life. Because almost everything, all external expectations, all pride, all fear of embarrassment or failure - these things just fall away in the face of death.
- Steve Jobs, 2005 Stanford Commencement Address
Pablo Picasso, Bull (plates I - XI) 1945 - 46. A good summary of the idea of creativity embodied in a single image.
Picasso’s arrogance sometimes appeared rude in his self- descriptions of his work. He was straight forward and candid in explaining why he painted like he did. He stated that a “painter paints to unload himself of feelings and visions, and to express [his/her] conception of what nature is not”. Picasso continued his hatred for those that followed all the rules of art when he wrote:
What a miserable fate for a painter who adores blondes to have to stop himself putting them into a picture because they don’t go with the basket of fruit! How awful for a painter who loathes apples to have to use them all the time because they go so well with the cloth. I put all the things I like into my pictures. The things-so much the worse for them: they [the viewer] just have to put up with it.
Picasso continued his analogy by saying “a picture used to be a sum of additions. In my case a picture is a sum of destruction. I do a picture –then I destroy it”. Perhaps this refers to his idea that there really is no abstract art: “You must always start with something. Afterward you can remove all traces of reality”. He wanted only emotion projected by his art.
An excerpt from THE LANGUAGE OF ART: A conversation between Henri Matisse and Pablo Picasso (references removed) by Marisa Jones Hooser.
In Explosure, Gearon continues these personal investigations, again photographing at home and on family trips to upstate New York, India, Italy, and South Africa. But instead of taking single shots she creates surprising, chance-narratives using the classic technique of double exposure in camera that she then prints without retouching or post work. By superimposing two, quite unrelated images into one, she invents scenes that are startling, surreal, and engaging yet also fleeting and ephemeral. They are vastly different in character from all of her previous photographs in that they present a multi-dimensional (sometimes kaleidoscopic) view of Gearon’s world that challenges perceptions of time, scale, and space. Her method of composing creates, within each work, contrasts of settings and the juxtaposing of themes.
I open the shutter when the movie begins, when the title shows up. Then I just leave the camera open for two, three hours - whatever the length of the movie is. When the ending credit shows up, I just close the shutter. So I photograph the entire movie images. When I process the film no images from the movie show, just showing a white light left on the screen. Interiors of the theatre shows, reflecting the white light coming out from the screen. The people who were in the theatre all disappear receiving this radiant white light from the screen, which means I probably want to say too much information ends up in nothingness. How do you show the nothingness, emptiness? You have to have something surrounding the nothingness. In this case, the movie theatre is the “case” that holds this emptiness.
- Hiroshi Sugimoto, from Contacts, Vol. 2 (1992).
Photos: Hiroshi Sugimoto, Theatres.
I’ve realised that my posts have been highly concentrated in the realm of photography lately, so I’ve decided to do something else and share two interviews with Morrissey. For those who don’t know him, he’s the singer from The Smith, the godfather of all the irony-loving indie kids/had been indie-kids in the 80’s. Seriously, if you ever see the kind of indie-kid who wears tight jeans, listens to music with big headphones on a double-decker bus (and hang around in a corner of the room at house parties), at least 12% of their soul has been expressed or assuaged by Morrissey at some point in their lives. Naturally, people would describe or judge him in different ways, but many would agree that there is none quite like him.
But enough on my perspective. The first one is from 1984 when The Smiths just broke through with their self-titled debut album, The Smiths.
The second interview is from when he was nominated as the Greatest Living Icon for the BBC 2 Culture Show.
I find it tremendously interesting that a man with such fragile roots can develop to be so arrogant in the image of his own brilliance. The funny thing is, both the fragility and the arrogance (along with his poetic genius + great sense of humour) are equally manifested, and equally essential in his music and words. Morrissey, is possibly comical/profound passive-aggressiveness at its best.
If his strange yet fascinating being has piqued your interest, you can listen to Heaven Knows I’m Miserable Now - one of The Smiths’ many, many great songs.
Of all the means of expression, photography is the only one that fixes forever the precise and transitory instant. We photographers deal in things which are continually vanishing, and when they have vanished, there is no contrivance on earth which can make them come back again. We cannot develop and print a memory.
Memory is very important, the memory of each photo taken, flowing at the same speed as the event. During the work, you have to be sure that you haven’t left any holes, that you’ve captured everything, because afterwards it will be too late.
It was in Spain that Capa took his best-known photo, which purported to show a militiaman a split second after he’d been fatally shot. Debate over its authenticity still rages. The “truth” of the photo, says Kershaw, is in its representation of a symbolic death. “The Falling Soldier, authentic or fake, is ultimately a record of Capa’s political bias and idealism”.
Excerpt from a Time article, Robert Capa, in Focus. Alex Kershaw is the writer of Capa’s biography, Blood and Champagne.
If your pictures aren’t good enough, you aren’t close enough.
A clear horizon: when all negative emotions are removed you can look forward, the road is clear ahead and now you’re going to create something. I think that’s as happy as I would ever want to be.
Since the discovery of his Subway (1982) Reprint, I’ve been deeply inspired by Bruce Davidson and the compelling balance of reality/fantasy captured in his photographs. So I ventured out into the cyber-sea and fished out two video interviews; both worth a watch for anyone who’s ever attempted/aspired to shoot the streets. Much respect to the man who, at age 78, is still driven by the same passion he had in his preadolescent years, giving out photos to subjects, and dedicated to making contacts and connecting with the people and the world around him. I’m no critic of the *snap*-run! + a distant “f**k you asshole” approach, but Davidson’s style just makes me want to high-five the s**t out of him until he cries tears of pleasure spiked with pain.
Davidson on his subjects from East 100th Street:
While I didn’t have any agenda, they just felt good that someone wanted to see them. And that happens a lot with various bodies of work of mine where people are glad you’re there to see them.
You can also read more on Davidson, or see more on other New York street photographers.
Robert Doisneau on youth. My top 10 photographic moments that capture the playfulness, fragility and the white-as-sheet innocence of children through Doisneau’s grandfatherily-tender eyes.
Visit his website for more photos.
Immature poets imitate; mature poets steal; bad poets deface what they take, and good poets make it into something better, or at least something different.
Idea : every time you order tap water at a restaurant, pay a dollar.
This super simple idea led to the creation of the Unicef Tap Project, enticing thousands of people to contribute to the fight against a world where children die from a lack of access to clean water. It also spawned a movement of goodwill + general samaritanism that continues to this day.
You can read more about it here.
Creativity is allowing yourself to make mistakes. Art is knowing which ones to keep.
From the re-print of Subway (1982) by Bruce Davidson.
Definitely check out this BBC article - you’ll also find some of the photo captions Davidson added himself.
SHORT-TERM:
Honing my skills in communications i.e. account planning; recognising true insights and connecting the dots between the brand, category & consumers. Spirit of collaboration > personal egos, for the greatest benefit of the project. Having a beer.
MID-TERM:
Being part of a force in realising a better world where there is less but more stimulating & relevant advertising.
LONG-TERM:
Utilising my communications skills, honing my entrepreneurial skills, to promote natural, sustainable, and healthy living through creativity.
SUPER LONG-TERM:
Be part of the solution in creating a healthier planet with happier people.
Specialties: - Exploiting the power of Google & Twitter to sieve out the irrelevant from the relevant, then the relevant from the gem of true insights;
- which is simply a manifestation of my innate interest in all humans & communication as a means to understand them as an individual and/or collective. Tracking down the human and/or societal element.
- Being conscious of the rational, emotional, biological, spiritual. Trying hard to maintain a balanced approach & perspective at work (not so much in my art).
www.returnthisway.com
Found this post on Quora. Thought it would be appropriate to post it here.
What’s it like to be an alcoholic?
At first, it’s great. Truly, truly wonderful. A few glasses of the magic potion and suddenly I was relaxed, happy, having fun and supremely confident. Alcoholanswered something in me. It took away my every-present anxiety. I could be in the moment. I was 13 the first time I experienced just how sublime being drunk could be.
I could drink a lot (comparatively) without showing it. At 15, I was at a bush party where a girlfriend was raped by her date–she was so drunk that she couldn’t fight him off–and I remember judging her for getting so drunk, rather than sympathizing.
I turned 17 and finished high school at the same time. My father told me I could no longer live in the family home. I went on a drunken tour of Europe for a few months and then moved to Banff, where I worked, drank, and drugged. By my 17th summer, I was drinking 3-4 bottles of wine at least five times a week and taking speed to prevent blackouts. But drinking was still fun. I was with a young, beautiful, and hard partying crowd. What I did was normal in context. There were some bad hangovers, a few guys I slept with that I regretted, and a night in the drunk tank when the RCMP found me literally crawling home in skirt and t-shirt in mid-January (think it was about -25 that night) and I was too drunk to tell them were I lived. They probably saved my life (or at least a few fingers and toes).
A couple of years later, my friends were leaving, giving up the partying and heading to university, careers, marriage, mortgages, kids and all the grown up stuff. And some of them were suggesting that I might be partying a bit too hard. I dismissed them as boring a-holes.
But it wasn’t fun in Banff anymore, so I went to university. In order to make the money to go there, I headed up to Yellowknife to tend bar at the Gold Range. The way the patrons drank made my drinking seem the epitome of restraint. So I was able to tell myself that I didn’t have a drinking problem. When I started university, I got a part-time job serving tables at the bar where the CFL and NHL players partied. Once again, my drinking and drug habits seemed pretty normal. I dated a player (who would later be booted out of the league for his coke use) who liked that “I could keep up with him.” I told myself that I didn’t have a problem with drinking because I only drank when I was with other people, so I was a social drinker. REAL alcoholics drank alone.
I was 21 and drinking was still, mostly, fun. I was getting great grades. But there were warning signs; people I wouldn’t hang out with because they were boring (didn’t drink more than a glass or two on weeknights), classes I missed because I was too hungover to make it in, I had to borrow money to pay rent and bills, because I was spending my earnings and savings on booze and drugs. Time passed and I dropped out of university because, I told myself, “I don’t want this.” Actually, I was failing that semester because I was drinking and drugging so heavily that I couldn’t do course work or pass exams.
So then, like countless alcoholics before and since, I decided that the problem wasn’t me, it was where I lived. So I moved. But no matter where you go, there you are. I was able to stop doing coke and speed in my new town, but my drinking got even heavier to compensate. Oh, and drinking no longer worked its old magic. I had to drink so as not to go crazy, but it didn’t make me feel good, it didn’t fill me with warmth and good cheer. It had become a dreary necessity.
Drinking pretty much took over my life. I had a few friends who drank as hard as I did. We prided ourselves on it and thought the rest of the world were boring sheep with no sense of adventure. I did things I was ashamed of. Maybe not the stuff you might be ashamed of–sex was as meaningless as drinking a glass of water by then–but stealing from friends and convincing myself it wasn’t theft, that they owed me or would want me to have it. I was best woman at a childhood friend’s wedding and I didn’t show up for the ceremony. I had gotten drunk the night before and, truthfully, didn’t want to stand up and watch someone be happy and move forward in life. I coveted happiness and hated everyone else for having a better life than I did. I hated myself even more. And the only thing I knew how to do was pick up a bottle.
Alcoholism is lonely. Even when you are surrounded by people, you don’t feel the connection. Even when those people really love you. Because you think they love the mask you are holding up to the world, not the real you, not the worm inside that is your core self. And I drank even harder to get rid of that realization.
Being an alcoholic is tedious and fearful. I lived in fear of being found out and I had to plan every activity to make sure that there was access to alcohol. I’d show up at parties and drop a bottle of wine on the table. Then I’d head to the bathroom and stash a bottle of scotch inside the toilet tank so that I didn’t have to worry about running out of booze. And people wouldn’t know just how much I was drinking. Over a decade later, I still know the closing hours of all the liquor stores in Vancouver!
Twice, during the last five years of my drinking, I managed to stop for about a month. But the entire time there was a hamster wheel in my head, one that kept repeating, “I am not drinking. I am not drinking.” The only thing I thought about was booze. And how horrible it was not to be drinking any.
I can tell a lot of funny stories about my drinking years. But most of the time I was scared, alone, angry, and bored. I knew the future that was coming was a bad one. And then I had that moment of clarity. I almost choked to death on my own vomit and I realized that I would die if I kept drinking and that I didn’t want to die like this. The long process of recovery began. Recovery is amazing and it is brutal. I had to grow up and become a whole person, so that I didn’t try and fill the black hole at my core with booze, drugs, sex, drama, and all the other distractions I had used. Growing up isn’t easy, especially when you are 20 years behind the curve. But it is possible, as long as I put in the daily work.
Today, I have a wonderful sober life with great friends, a marriage full of fun and love, interesting, meaningful work and a comfy home. And I believe that I could lose everything if I decide to pick up a drink again. Maybe that belief is wrong, but I’ve seen friends who started drinking again be just as bad or worse as they had been in a very short time and the family, wife, and bank account disappeared. When people ask me if I couldn’t just have one glass of wine, I put it this way, “If you were playing a slot machine that might reward you with a small payout, say $20 bucks, but if you got the wrong combination someone chopped off your right thumb, would you?” Nobody’s ever said they’d play those odds. And neither will I.
Originally from Quora. Special thanks Tom Waits for the cameo appearance.
Interviewer: “Ryo, Matt. Why are you doing this project?”
R&M: “…”
Interviewer: “Oookay..”
It’s really hard to pinpoint just one thing and say “this is why!” for me. But in my brain (where thoughts develop in linear/bullet-point like fashion), my intentions did seem to develop in the following progression:
So this is my very personal, and sophomoric understanding of my own reasons for embarking on this project. I’m quite sure that Matt’s opinion wouldn’t be too far off from this, but I’ll be sure to supplement his perspective whenever I catch the man free from being the video/film guru that he is.
We’ll be updating this blog weekly – biweekly. Getting nitty gritty into the depth of things from here!
All thoughts and comments in all languages, greatly welcome.
P.S. Sorry Joey, didn’t mean to make you look like a Warhol piece. It was the only visual effect that would keep me up at 3am.
I bumped into him again in Townhall station. I distinctly remember the moment I saw him, as it’s not so often that you actually feel your heart ‘shrink’. Even from afar, his deterioration was conspicuously visible, with feet swollen twice the size of any normal feet – so much so that his shoes now looked like kiddy slippers. I re-inflated my heart and walked up to him to say hi. He gave me the full run down:
It’s not so often that you meet a dying man.
All I could do that night, was buy him some raspberries and listen to him; string the fragments of his story together just so I could understand WHY this could’ve happened.On top of the information I had of his gambling past that cost his job and a woman who was dear to him, that night I learnt that:
On the train ride home back to Stanmore, I had a gazillion questions running through my brain: HOW does a man let this happen to himself? HOW can the parents remain so non-involved? WHAT is the pull of addiction that leads a man to destroy himself? WHERE does it begin? Did anybody help? Could anybody help?
WHY doesn’t any of this make any sense to me?
2009, some lousy night in May. The wind hits my bones as I stumble out of a mediocre night out at a mediocre club on Oxford St., Sydney. Slightly sideways (as you would be on a Friday night out), I light a cigarette, entering a temporary haven/distraction from my own sense of non-belonging exacerbated by the hord of unfamiliar faces with the same familiar expression of mild – severe inebriation.
He came out of nowhere, busting some mad rhymes about “going out & drinking gin” and “a crazy girl called Madeleine”. I was pleasantly moved by the event, the spontaneity of it, and though I knew nothing about the man, the ever curious five-year-old in me took an instant liking to him. Within the time span of six cigarettes, we spoke extensively about music, taking a trip down his memory lane of as an gambling addict, the loved ones he had lost because of this: his regrets and admittance of non-glory of it all.
I felt for him. I knew that changes needed to be made and the pure optimist in me was convinced that this can happen. In my lousy attempt to encourage him to lead a better life, I tore out a piece of paper from my faux moleskine, and wrote down:
“melodica – very cheap”
and stuffed it in his pocket. Around my third cigarette, Joey told me that he played the keyboards in his youth, and because of this single fragment of information of his life, I honestly believed that by reigniting a passion for music in the man, I could in some way help him make some better choices in the road ahead. But boy, was I naive, and incredibly misguided.
I’ve bumped into him many a-time since, mostly in the CBD. I could tell that his physical condition was getting steadily worse each time I saw him, which was directly reflected in the infrequency/complete lack of rhyming from him. He was struggling, and I was.. angry. Laughable, I know. But I didn’t know any better at the time but to think of life in the only way I knew:
If you have a problem, fix it. Give up your bad habits, move on.
Fast-forward to April 2012.
WELCOME!
Allow me to introduce ourselves! This is Ryo & Matt, and we very much appreciate your interest in cruising by and checking this shizzle out.
If you stumbled upon here via our YouTube video, an introduction to Joey, WELCOME to our blog! Now you’re probably wondering – what is this blog really about? Well really, it’s..
AN OPEN BLOG
Or something of the sort. Basically, we’re launch it as a supplementary element to our online documentary project; a place where we can speak beyond the videos and our identities as film makers and share our emotional/rational process of coming to terms with the complex realities of addiction. The natural consequence of being involved in a project like this, is that we constantly find ourselves chewing on a string of thoughts, ideas and theories on addiction.. So we would love, love and (listening-to-Marvin-Gaye-on-a-Sunday) LOVE to get an open dialogue happening where us the film makers, the viewers, experts, current and past addicts, cynics, skeptics, optimists of all gender, race, and culture could come together and share our individual reactions & insights to bring this topic in a better light.
Our goal is to come out of the other end thinking “hey, yeah that makes sense”, or “oh, I never thought about it that way”.
So welcome to this virtual coffee house not of beatnik poetry, but of addiction: a phenomenon that is truly universal yet deed and complex like the mind of the opposite sex. It’s something that we realise continuously casts a shadow in our society as well as our personal lives, and we’re tapping into every opportunity to learn more about it.
And yes, my mind is currently bursting with plethora of words about the man and the project!!! but as I would hate to ramble on, allow me to first explain why we are doing what we are doing – jump to the next post ; )
Super nice to meet you all.