Vi har lige nævnt Daido Moriyama som inspirationskilde for Anders Petersen. Moriyama regnes for en af de mest betydningsfulde japanske fotografer i nyere tid. Darren Campion skriver bl.a. om ham i et fint indlæg i The Incoherent Light:
It is an art that is intensely personal, but at the same time implies a kind of “democratic” regard for lived experience – it is, in this sense, as much a psychological history of his native Japan and its heritage of cultural dislocation in the post-war years, as it is a self-conscious expression of his own particular photographic vision. In these pictures there is a persistent sense of movement, of a restlessness which cannot be contained; each frame captures a scene hardly glimpsed, but tries to take all that can be gained from each. The very act of making a picture becomes an act of self-definition, an attempt to locate himself in the world and a way for him to document the theatre of self.
Fra Luhring Augustines pressemeddelse i f.m. en udstilling med Daido Moriyama:
Witness to the spectacular changes that transformed postwar Japan, his photographs express a fascination with the cultural contradictions of age-old traditions that persist within modern society. Providing a harsh, crude vision of city life and the chaos of everyday existence, strange worlds, and unusual characters, his work occupies the space between the objective and the subjective, the illusory and the real.
Moriyama takes pictures with a small hand-held camera that enables him to shoot freely while walking or running or through the windows of moving cars. Taken from vertiginous angles or overwhelmed by closeups, his blurred images are charged with a palpable and frenetic energy that reveal a unique proximity to his subject matter. Snapshots of stray dogs, posters, mannequins in shop windows, and shadows cast into alleys present the beauty and sometimes-terrifying reality of a marginalized landscape. His anonymous and detached approach enables him to capture the “visible present” made up of accidental and uncanny discoveries as he experiences them.
Moriyama emerged as a photographer in the 1960′s at the tail end of the VIVO collective, a revolutionary and highly influential group of Japanese artists who reexamined the conventions of photography during the tumultuous postwar period. William Klein’s loose, Beat style images of New York City in the 1960s also served as a major turning point for Moriyama, who found inspiration in Klein’s free-form photographic style. Taken by these innovative approaches at home and abroad, Moriyama ultimately went on to forge his own radical style.