For Daido Moriyama, to photograph is not to fix the world but to collide with it. The Hunter brings together works reflecting his lifelong approach: grainy, blurred, and out of focus—the radical aesthetic known as are, bure, boke—born from chance encounters with bodies, shadows, and city streets. His camera is an extension of movement itself, producing not documents but traces, records of being there, of looking, of passing through.
