THREE.
FRONTIER INTERNATIONAL.
Shot straight back into what may be a wide alcove. Regular curves of pale square tiles.
Four structures visible.
The largest, very precisely constructed, very hard-edged, is decorated with an eerie pointillist profile against a solid black background: it seems to be a very old man, his chin, lip-less mouth and drooping nose outlined in blood red. In front of this is positioned a black hard-sided overnighter suitcase.
Ab.u.t.ting this structure stands another, smaller, very gaily painted: against a red background with a cheerful yellow bird and yellow concentric circles, a sort of Cubist ET winks out at the camera. The head of a large nail or pin, rendered in a far more sophisticated style, penetrates the thing"s forehead above the open eye.
A life-sized human hand, entirely out of scale with the huge head, is reaching for the eye.
Nearby sits an even smaller structure, this one decorated with abstract squares of color recalling Klee or Mondrian. Beside it is an orange plastic crate of the kind used to transport sake bottles. An upright beer can. A pair of plastic sandals, tidily arranged.
Another, bigger structure behind this one. Something painted large-scale in beige and blue (sky?) but this is obscured by the Mondrian. A working door, hinged with poly-tie, remains unpainted: the carton employed for the door is printed with the words "FRONTIER INTERNATIONAL."
Individual styles of workmanship start to become apparent.
Deeper in the image, beyond what appears to be a stack of neatly-folded blankets, is located the blue enamel upright, braced against the ceiling tile. Another like it, to its right, supports a paper kite with the printed face of a samurai.FOUR AFTER PICa.s.sO.
Shallow perspective of what appears to be a single, very narrow shelter approximately nine meters in length. Suggests the literally marginal nature of these constructions: someone has appropriated less than a meter at the side of a corridor, and built along it, tunneling like a cardboard seaworm.
The murals lend the look of a children"s cardboard theater.
Punch in the underground.
Like so many of the anonymous paintings to be found in thrift shops everywhere, these murals are somehow vaguely after Pica.s.so. Echo of Guernica in these tormented animal forms. Human features rendered flounder-style: more Oxfam Cubism.
Square black cushion with black ta.s.sels at its corners, top an uncharacteristically peaked section of cardboard roof. Elegant.
The wall behind the shelter is a part.i.tion of transparent lucite, suggesting the possibility of a bizarre ant-farm existence.
FIVE.
YELLOW SPERM.
We are in an impossibly narrow "alley" between shelters, perhaps a communal storage area. Cardboard shelving, folded blankets.
A primitive portrait of a black kitten, isolated on a solid green ground, recalls the hypnotic stare of figures in New England folk art.
Also visible: the white plastic cowl of an electric fan, yellow plastic sake crate, pale blue plastic bucket, section of blue plastic duck-board, green plastic dustpan suspended by string, child"s pail in dark blue plastic. Styrofoam takeaway containers with blue and scarlet paint suggest more murals in progress.
Most striking here is the wall of a matte-black shelter decorated with a mural of what appear to be large yellow inner-tubes with regularly s.p.a.ced oval "windows"
around their perimeters; through each window is glimpsed a single large yellow sperm arrested in midwriggle against a nebulous black-and-yellow background.
SIX.
GOMI GUITAR.
Extreme close, perhaps at entrance to a shelter.
An elaborately designed pair of black-and-purple Nike trainers, worn but clean.
Behind them a pair of simpler white Reeboks (a woman"s?).A battered acoustic guitar strung with nylon. Beside it, a strange narrow case made of blue denim, trimmed with red imitation leather; possibly a golf bag intended to carry a single club to a driving range?
A self-inking German rubber stamp.
Neatly folded newspaper with j.a.panese baseball stars.
A battered pump-thermos with floral design.
SEVEN.
108.
A s.p.a.ce like the upper berths on the Norfolk & Western sleeping cars my mother and I took when I was a child. Form following function.
The structure is wide enough to accommodate a single traditional j.a.panese pallet.
A small black kitten sits at its foot (the subject of the staring portrait?). Startled by the flash, it is tethered with a red leash. A second, larger tabby peers over a shopping bag made of tartan paper. The larger cat is also tethered, with a length of thin white poly rope.
Part of a floral area-rug visible at foot of bed.
This s.p.a.ce is deeply traditional, utterly culture-specific.
Brown cardboard walls, cardboard mailing tubes used as structural uprights, the neat poly-tie lashings.
On right wall: GIG.
MODEL NO: VS-30.
Q"TY: 1 SET.
COLOR: BLACK.
C/TNO:108.
MADE IN KOREA.
At the rear, near what may be a.s.sumed to be the head of the bed, are suspended two white-coated metal shelves or racks. These contain extra bedding, a spare cat-leash, a three-pack of some pressurized product (butane for a cooker?), towels.
On the right wall are hung two pieces of soft luggage, one in dark green imitation leather, the other in black leather, and a three-quarter-length black leather car coat.
On the left wall, a white towel, a pair of bluejeans, and two framed pictures (content not visible from this angle).
A section of transparent plastic has been mounted in the ceiling to serve as a skylight.EIGHT HAPPY HOUR.
Wall with mailing-tube uprights.
A large handbill with j.a.panese stripper: LIVE NUDE, TOPLESS BOTTOMLESS, HAPPY HOUR. Menu-chart from a hamburger franchise ill.u.s.trating sixteen choices.
Beneath these, along the wall, are arranged two jars containing white plastic spoons, a tin canister containing chopsticks, eight stacked blue plastic large takeaway cups, fourteen stacked white paper takeway cups (all apparently unused, and inverted to protect against dust), neatly folded towels and bedding, aluminum cookware, a large steel kettle, a pink plastic dishpan, a large wooden chopping-board.
Blanket with floral motif spread as carpet.
NINE.
SANDY.
A different view of the previous interior, revealing a storage loft very tidily constructed of mailing-tubes and flattened cartons.
The similarities with traditional j.a.panese post-and-beam construction is even more striking, here. This loft-s.p.a.ce is directly above the stacked cookware in the preceding image. Toward its left side is a jumble of objects, some unidentifiable: heavy rope, a child"s plaid suitcase, a black plastic bowl, a softball bat. To the right are arranged a soft, stuffed baby doll, a plush stuffed dog, a teddy bear wearing overalls that say "SANDY," what seems to be a plush stuffed killer whale (shark?) with white felt teeth. The whale or shark still has the manufacturer"s cardboard label attached, just as it came from the factory.
In the foreground, on the lower level, is a stack of glossy magazines, a tin box that might once have held candy or some other confection, and an open case that probably once con-tained a pair of sungla.s.ses.
TEN.
BOY"S BAR KYOKA.
A very simple shot, camera directed toward floor, doc.u.menting another food-preparation area.
A square section of the round tiles is revealed at the bottom of the photograph.
The rest of the floor is covered by layers of newspaper beneath a sheet of brown cardboard. A narrow border of exposed newsprint advertises "Boy"s Bar KYOKA."A blue thermos with a black carrying-strap. A greasy-looking paper cup covered with crumpled aluminum foil. A red soap-dish with a bar of white soap. A cooking-pot with an archaic-looking wooden lid. The pot"s handle is wrapped in a white terry face cloth, secured with two rubber bands. Another pot, this one with a device for attaching a missing wooden handle, contains a steel ladle and a wooden spatula. A nested collection of plastic mixing bowls and colanders.
A large jug of bottled water, snow-capped peaks on its blue and white label.
A white plastic cutting-board, discolored with use. A white plastic (paper?) bag with "ASANO" above a cartoon baker proudly displaying some sort of loaf.
ELEVEN.
J.O.
The shelters have actually-enclosed a row of pay telephones!
Dial 110 for police.
Dial 119 for fire or ambulance.
Two telephones are visible: they are that singularly bilious shade of green the j.a.panese reserve forpay phones.
They have slots for phone-cards, small liquid crystal displays, round steel keys.
They are mounted on individual stainless-steel writing-ledges, each supported by a stout, mirror-finished steel post. Beneath each ledge is an enclosed shelf or hutch, made of black, perforated steel sheeting. Provided as a resting place for a user"s parcels.
The hutches now serve as food-prep storage: four ceramic soup bowls of a common pattern, three more with a rather more intricate glaze, four white plastic bowls and several colored ones. A plastic scrubbing-pad, used.
On the floor below, on newspaper, are an aluminum teapot and what may be a package of instant coffee sachets. Three liter bottles of cooking oils.
On the steel ledge of the left-hand phone is a tin that once contained J.O. Special Blend ready-to-drink coffee.