Pretty Woman

Pretty Woman was published to accompany Moriyama’s solo exhibition of the same name, built largely from photographs made in Tokyo across the preceding year. With its 416-page scale, the book doesn’t aim for a neat “best-of” narrative—instead, it translates the speed, density, and chance of walking into a sustained, page-by-page experience. 

Mixing color and monochrome, Moriyama lets Tokyo flicker between gritty memory and contemporary glare. The title Pretty Woman works less as an explanation than as a cue: people, surfaces, advertisements, and fleeting encounters keep resurfacing—then vanish again into the city’s momentum. 

Seen alongside the broader “Tokyo: ongoing” context, this book reads like a compressed chapter in a longer run—Tokyo not as a resolved subject, but as something continuously re-written through looking. 

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