Photographs are being printed, rephotographed, the film is developed in ways usually not recommended (the temperature might be too high), prints are being made from that, etc. This process gives Yokota’s work its own look and feel. Or rather, it contributes a notable component to this look and feel. After all, the choice of subject matter, the framing, the use of artificial light (flash)… All of these choices, many of which appear to be random at first (but which are not), contribute to photographs that are unlike much of what we see in contemporary photography today. Where today’s popular New Formalism produces imagery that for the most part seems intent on outdoing itself in terms of its detached clinicality, of being devoid of much – if any – sensual passion, Yokota’s photographs live in the somber shadows, where all kinds of other, possibly unpleasant, surprises might linger.