The photo book “Rubber” takes a special role within Suda Issei’s body of work largely devoted to the regular Japanese lifestyle (e.g. traditional ceremonies in “Fushikaden” or impressions of Tokyo in photo books such as “Waga Tokyo 100” or “Tokyo-Kei”).
On each page, in each photo he took of women tightly wrapped in latex, the fetishism of Suda’s gaze and the fetishism of the subject it is directed at converge and explore a narrow corridor of sensation and vision.
“More than the fetishists who obtain perverted gratification from rubber, I wanted the subject of the images to be my own perverted feeling as a spectator”, says Suda about the book.
Rubber allows a more direct look at the source of eroticism resident in Suda Issei’s photography.