These exceptionally beautiful photographic studies explore Marco Bettoni’s obsession with life in Tokyo, and particularly the paradox of one of the world’s biggest and busiest cities having a centre that is empty and quiet.

The entire city turns around this central site, which is both forbidden and indifferent to the mass of Tokyo’s population, and contains a royal residence concealed beneath foliage and protected by moats.

Bettoni uses Tokyo taxi signs, the blurred lights of speeding cars, and lightbox constructions, to convey the sense of a frenetic urban pace that is both apart and inseparable from its traditional core.

Dramatic and compelling, this…

These exceptionally beautiful photographic studies explore Marco Bettoni’s obsession with life in Tokyo, and particularly the paradox of one of the world’s biggest and busiest cities having a centre that is empty and quiet.

The entire city turns around this central site, which is both forbidden and indifferent to the mass of Tokyo’s population, and contains a royal residence concealed beneath foliage and protected by moats.

Bettoni uses Tokyo taxi signs, the blurred lights of speeding cars, and lightbox constructions, to convey the sense of a frenetic urban pace that is both apart and inseparable from its traditional core.

Dramatic and compelling, this work was discribed by art critic Guy Brett as: ‘Beautiful: calm amid chaos.’

Marco Bettoni is a Camberwell MA graduate who, over the past few years, has exhibited at Diecidue (10.2) Gallery, Milan, Galleria Casati, Bergamo, Riverside Studios, and Platform London; as well as at Galleria Continua, San Gimignano and Galleria Elvira Carreras in Madrid. Marco Bettoni is a Camberwell MA graduate who, over the past few years, has exhibited at Galleria Casati, Bergamo, Riverside Studios, and Platform London; as well as at Galleria Continua, San Gimignano and Galleria Elvira Carreras in Madrid.

The artist’s work is now in the British collection at Matrix Chambers, alongside work by Julian Opie and Cornelia Parker. The Tate Gallery has also recognised Bettoni’s practise and his catalogue is now availiable as a reference in their archives.