So, what were Nagashima’s feelings when she took the photos for this book? And at that time, how did she confront the label of “girl photography” on herself; or how does she, as a gentle feminist today, look back on her work? It’s an interesting thing to think about.
After leaving the Takarazuka Revue, she entered the world of TV dramas under the name Miki Maya(真矢ミキ), making many efforts, but most importantly, relearning how to be a woman. As a result, this photo book represents a completely parallel universe for her.
This concealment has another value: it allows the photographer to focus entirely on self-activities such as “performance” and “gaze,” enabling the creative process to continue.
In Japan’s modern and contemporary art, doll culture continues to develop in diverse and rich forms. “Mirai-chan” appears to be a representative work in this category, interpreting the traditional doll culture through contemporary photography.
