“I love the female genitals more than anything else,” the Japanese photographer Nobuyoshi Araki admits. Thanks to his small round dark glasses and light obesity, he looks like the cat Basilio from the fairy tale about Buratino. And when he talks about women, he carnivorous licks, as if recalling the taste of a recently eaten fat mouse. Araki constantly remembers his wife, says that she was beautiful, that he loved her and that she was very worried when he undressed other women, tied them, touched them for different places. By this he hastened her death. At least that's what he thinks himself. In 1993, Araki published a book with the beautiful name “Erotos”, in which he outlined his concept of the meaning of life in a visual language.
In his opinion, the whole world exists only because of the sexual energy inherent in it, which is a mirror reflection of death. Signs of manifestation of this force are enclosed in everything that surrounds us. At the same time, they attract, excite, frighten, revolt and drill a black hole in us, a path to emptiness. A man sees in everything touched by his body or his gaze, the female genitalia, he is ready for orgasm, which means death. An orgasm never repeats on sensations with different partners or with one partner, if this partner experiences sex every time as a fact of meeting death. Araki considers the process of photographing to be a kind of sexual intercourse, and each frame - an orgasmic eruption, that is, dying and rebirth. Therefore, he composed “Erotos” so that each picture seemed to be copulating with the viewer, and the viewer performed sexual intercourse with an image that, thanks to the imagination, acquired quite tangible features.
In every woman, Araki feels death, as he felt in his cancer patient's wife, therefore, opening “Erotos”, the viewer at the behest of the photographer becomes a necrophilist, a fetishist, a maniac, a sorcerer.The mad photographer introduces the person who opened the book into the context of a wet, saturated with pornographic metastases of the organism of his fantasies and ideas about everything. For Araki, there is no difference between a watering female eye, a dry flower, a wrinkled dried fruit, and an open vagina space. He sees identity in the cochlea, enveloping the clitoris, and the penis, penetrated into someone's mouth. This is all about anticipating orgasm, its sensation and the death of both ecstasy partners.
Erotos breathes death agony, but this agony is a shudder of the body as a result of orgasm. Araki admits that the book tells how he erotically experiences a woman, how he is connected with her, how he fears and thirsts for her. He lays out his passions, desires, beliefs, pains, memories into components, into signs. Makes photos so that they cause tactile sensations and penetrate into the brain with all their sexual, life-giving mucus that fills the pages of the publication.
“Women possess all the charms of life itself. They have all its attributes: paralyzing beauty, murderous deformity, sweet shamelessness, strange purity. Much more than nature. In the woman - the sea and sky.In a woman there is a bud and a flower. A photographer who does not photograph a woman, who does not know a woman is not a photographer, or perhaps only a third-rate photographer. A woman can teach you life much better than you can learn about her in the books of Balzac. Whether your wife, one-night companion, or a prostitute — a woman will teach you how the world is turning. I built my life on the fact that I met with women. ”
Araki does not read books - he reads female essences, and that is enough for him. He rejoices, finding the answer to the question of whether eroticism is moral. Of course, morality, since there are no things on earth, where Eros would not live, hide, or stick out the tongue of a tickling subconsciousness. Book and about it. It dispels doubts about whether it is worth hiding from the god Eroth living in every creature and whether it is necessary to kill him in himself, because he will still come out as an even more active and aggressive substance.