- Nihon Tree, 2006
- Deconstruct (Sendagaya), 2005
- Ropeway Girl, 2005
- Card Collectors #4, 2016
- Card Collectors #5, 2016
- Osorezan (a place to pray for dead babies), 2005
- Osorezan (a place to pray for dead babies), 2005
- Swan at 2:59, 2007
- Hole in a Fence, 2006
- Kakurenbo, 2007
- Look Up! 2004
- Scream, 2016
- Car Surveillance, 2015
- Atami, Feeding Eagles, 2004
- Door to Nowhere, 2004
- Door Handle, 2016
- Coin Locker Reflection, 2001
- Billboard Shadow (Lost), 2016
- Indoor Plant Dome, 2002
- Angel of Incidence = Angel of Refraction (Asahi Building), 2002
- Fence Shadow (close to where a homeless man whacked me with bag of comics), 2016
- Tepco Worker, 2018
- Gulliver's Hands, 2007
- PMS: Issey, 2006
- A Note, 2005
- Tetrapods and Rent-a-Car, 2005
- Photograph on a Jetty, 2014
- Aparto #1, 2016
- Aparto #1, 2016
- Photographing Fuji, 2005
- Pachinko Gorilla #1, 2005
- Pachinko Gorilla #2, 2005
- PMS: Souma, 2016
- Lockman, 2015
- PMS: Mina, 2004
- Empty Pool Slide, 2006
- A Sign, 2006
- PMS: Jiji, 2005
- Book, 2016
- Deconstruct (Odawara), 2000
- Discarded Suitcase, 2016
- PMS: Takashi, 2005
- New Years Bento, 2018
- Pink House, Atami, 2006
- Pink Wall, Tokyo, 2006
- This is not here, 2007
- 149 School Girls on a Beach, Kamakura, 1999
- Three Arrows, 2007
Nihon
The series Nihon is a visual investigation of locations in Japan where - planned or unplanned - urban and landscapes meet and nature and culture entwine. As inhabitants I am interested in how we are shaped by and shape our environment and the physical and psychological rewards and ramifications of this bind. Public spaces, particularly parks, are a different kind of site in Japan where living quarters are restricted spatially. Amongst these spaces more personal and usually hidden pastimes are enacted. This body of work includes the choreographed portrait series PMS: where these heterotopian spaces are punctuated by figures that I have purposely directed to go about banal acts that hint at how our fears and desires are bound to nature. All of these situations are ambiguously recreated from events I have actually witnessed.
More recently I have added work made from a new series titled Japan Dossier that maps Tokyo while influenced by Barthes' concepts associated with the 'empty centre'.