Daisuke Yokota is quickly establishing himself as among the most innovative and original of the new generation of photographers in Japan. His subtle, layered work takes both the potential and the problems inherent to a range of photographic processes (and cross-processes) into ever-more complex structures of strata, echo and interruption. In his new book Taratine, Yokota both reveals and conceals, offering glimpses of his personal life, in both text and image; profound, compound visions which are always subject to the dizzying aesthetic filters inherent to his practice. Yokota works consistently and with great energy and application to produce images that not only tell us about the strange gaps between life and art, but about the continued vitality of the ‘mysteries of the dark- room’ in the digital age. His work is significant because it is drawn directly from the everyday and yet seems balanced perpetually between what is recognisable and what is not, between memories themselves and the strange unknowable systems by which memories take form: neither collages, nor montages, as such, but superimposed screens, like those from which Yokota produces and reproduces moments of ordinary magic.”—Simon Baker – about taratine