In 2023 I published a Japan reportage in No Signal magazine, structured in five episodes. A visual and narrative journey—primarily rooted in street photography—built as a sequence of stops, fragments, and contrasts, deliberately distant from the country’s familiar stereotypes. Each episode becomes a different lens: silent architectures and marginal landscapes, everyday rituals and the cities’ invisible geometries.

Placing this work under the title Mono no Aware gives it its true key. Not nostalgia, but a heightened sensitivity to what passes: the quiet weight of a gesture, the presence of emptiness, the beauty of things precisely because they are temporary. And this is exactly where street photography belongs. It is a practice of attention—of being present long enough for the ordinary to reveal its tenderness, and quick enough to catch it before it disappears. It doesn’t try to explain a place from above; it meets it at eye level, in the flow of daily life, where meaning is made of small coincidences, reflections, pauses, and brief encounters.

The project doesn’t move in a straight line; it advances by accumulation and displacement, like a game played through intuition and detail. Images and texts form an open narrative—less a definitive portrait of Japan than a field of observation and listening, where the decisive moment is not a trophy, but a trace: proof that something fleeting existed, and was felt.