As I delve into the captivating world of Theo Cottle, a photographer whose lens has captured the raw essence of societies often shrouded in mystery and intrigue, I find myself utterly fascinated by his unique approach to storytelling. His journey to document the Yakuza, notorious Japanese organized crime groups, is a testament to his fearless spirit and relentless pursuit of authenticity.
The photographs taken by Theo Cottle portray real-life scenes, yet they are modified to evoke a dreamlike sensation – he describes them as an “authentic” depiction to Hypeart, of secluded locations and secretive societies worldwide, including the boxing clubs of Havana and the onsens visited by the Japanese Yakuza.
A photographer residing in London, originally from Bristol, focuses on “discovering the hidden and the silent” in both commercial assignments for brands like adidas and C.P. Company, as well as personal projects amidst the bustling narrow lanes of Naples. The roots of Cottle’s interests can be traced back to war photographs his father displayed when he was a child, which included the work of renowned British photojournalist Don McCullin. Additionally, cultural influencers such as Larry Clark, who delves into themes of gender and masculinity through his films and photographs, have also played a role in shaping Cottle’s preferences. Reflections of these themes can be found within Cottle’s own collection, like the series and book titled “893 Yakuza: The Setting Sun“.
One key characteristic of Cottle’s photography style is its spontaneity, which he uses to capture transient moments within various subcultures. He employs atmospheric tones and natural light to create a vivid dream-like sensation. In the editorial field, he’s a frequent collaborator, often shooting covers and campaigns for brands like Carhartt WIP, NSS, and Tommy Hilfiger. Beyond his commercial projects, Cottle is motivated by giving expression to the “vulnerable,” a passion that originates from his own speech impediment during childhood. “I found it very challenging to speak,” he reminisces. “To conquer my stammer, I would engage in conversations with strangers on the street. This aspect plays a significant role in my work, and I’m drawn to the underdog, the vulnerability in people because I can empathize with that experience.
In our most recent edition of “Through the Lens“, we had a fascinating conversation with Theo Cottle. Our aim was to delve deeper into his artistic methods and uncover insights about his new book, titled “893 Yakuza: The Setting Sun“.
“I often try to blur the lines of reality, even within a commercial context or project.”
Could you share with me your journey into maturity, including the initial influences that made an impact on you and how you found yourself drawn to photography?
Growing up, school wasn’t really a place where I thrived, but art provided an escape and a creative outlet for me. To push myself further, I developed a habit of asking strangers on the street to let me draw or photograph them. This hobby eventually evolved into a deep-seated passion for photography as my preferred means of documenting life.
Which movements or artists in particular still resonate with you today?
The 2012 Larry Clark retrospective in Berlin deeply connected with me, as it aligned perfectly with my current pursuits. Since my educational journey didn’t go smoothly, viewing his early pieces exhibited in the gallery broadened my understanding of the boundaries within art.
As a gamer, I’d say my journey hasn’t been a straight line, but more like a non-linear video game quest. Instead of following a clear path, I’ve found myself taking unexpected turns and filling roles that didn’t initially seem connected to my current career. From one level to the next, I’ve bounced around, learning skills and gathering experiences along the way. And here I am today, in this exciting gaming-related career that feels like the final boss level I never thought I’d reach!
As a gamer, I’d say my journey in this dynamic industry hasn’t been about following a predefined path, but more like navigating through various levels with a lot of trial and error. Initially, I found myself snapping shots at club events, then later on, I got the chance to work alongside a few skilled photographers. It’s all about being ready when opportunities knock, which often involves putting in the hard work. I’m incredibly grateful for the privilege of making this my career and feeling the thrill every step of the way.
How would you describe your equipment setup? Do you usually have a compact camera with you at all times, or do you primarily rely on your smartphone for everyday photos, switching to more advanced gear during photoshoots?
Previously, I was always seen with a point-and-shoot camera, which served as my go-to tool. Now, my creative endeavors are more deliberate and strategized, so I set aside dedicated time for executing a project. My preferred equipment includes medium format and digital cameras, with Polaroid as a backup. When working commercially, I must frequently adapt to the larger scale demands. In London, I have a darkroom where I print my images and strive to maintain control over post-processing stages as much as possible.
In both professional assignments and personal endeavors, you aim to take an authentic photograph of your subjects that reveals a sense of truth about them. Could you elaborate on this and delve deeper into what your photographic approach means to you personally?
In many of my projects, I like to blend the boundaries between reality and commercial aspects. This is what fascinates me and resonates with me. My work tends to recurrently focus on themes that I believe were shaped by my upbringing. These themes often center around youth subcultures, delving into the unexplored and unheard. I’m particularly attracted to environments where I feel a connection to the people or where I want to deepen my understanding of them.
“I like to see the underdog, the vulnerability in people because I can relate to that.”
Walk us through your process for a project, from earliest thoughts to final execution?
Before diving into action, I spend a substantial amount of time thoroughly researching a project. When venturing to a new city, involving locals can be quite beneficial. In my opinion, success often lies in committing ample time and effort to a task while actually carrying it out. Unfortunately, not every project I’ve attempted has been successful for various reasons. However, acknowledging these failures is essential as it contributes to the overall process of making things work effectively.
What have been your favorite personal project to date?
As a gamer, my latest published masterpiece is none other than 893 Yakuza. This project came together swiftly, like a whirlwind. I consider myself incredibly fortunate to have crossed paths with a friend who opened doors for me to the right connections. The journey of creation, I believe, was just as rewarding as the end result in this instance.
What is it about Sicily that keeps drawing you back again and again, as it served as inspiration for your latest series featuring the La Fiera market in Catania? What is it about this southernmost Italian island that continues to captivate you?
I have a deep affection for Sicily, as its vibrant culture and bustling streets resonate strongly with my photography passion. Whenever I need a break from London, Sicily serves not only as an escape but also as a source of renewal. Yet, despite my intentions to unwind, I usually find myself creating new works while there. It’s a place that constantly inspires me.
How did the Yakuza project come to be and the crazier stories while on the job?
For the Tommy Hilfiger project, I found myself in an unrelated situation. I made some new friends along the way, including a person who knew someone else – let’s call him “the connector.” This process took around a month to materialize contacts with them, whom I later learned were associated with the Yakuza. It was challenging to gain access to these individuals for documentation purposes, so I waited in Japan for about a month before finally getting the opportunity [laughs].
It’s funny, because you have this idea that you’ll get in these really mad situations. It was, and it was my idea to photograph them naked — there was a lot of them being able to be vulnerable around me. It kind of made the whole thing really relaxed. There wasn’t an element of it being dangerous or scary. It was really respectful. Obviously being in that environment is a kind of mad situation. Loads of older people naked who’ve probably done some bad things in their lives. The biggest thing for me was not wanting to be disrespectful. Going back to my work, what I’m really interested in questioning the narrative about people.
I chose to portray the Yakuza in such an intimate manner because I believe that when one is exposed and under scrutiny by a camera, it elicits various feelings. It seems this approach resonated with these individuals as well.
Was the choice to shoot them without clothes on because they were in a hot spring, or was it an impulsive decision at the last minute?
A few weeks before the photography session, I encountered one of these Yakuza individuals at a hot spring (onsen). He was quite noticeable, with his distinctive swagger – a puffed-up chest being a clear giveaway of his association. This encounter sparked an idea for me to capture a member of the Yakuza. We engaged in conversation and I found myself revisiting the situation to arrange a photoshoot, inspired by my initial encounter. I don’t believe the onsen management was aware that we were photographing Yakuza members, which came as quite a shock to them.
In your project with the boxers in Cuba, were there any parallels regarding accessibility issues, much like the Yakuza who are hard to reach, as Cuba poses challenges for Americans to enter? Could you discuss the shared aspects and distinct differences between these two ventures?
As a native English speaker, I don’t face the same limitations or values others might have. Cuba, with its high poverty rate, was strikingly different for me, especially since I spent my time working with numerous children there. However, my primary focus was uncovering their vulnerabilities. In this country, there were many boxing gyms, and I sought out the younger generation’s faces.
All photos courtesy of Theo Cottle for Hypeart.
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2024-10-16 20:26