Takeshi Hayakawa has a doggedness for documenting. "Even during days when nothing felt like it was working, there was an impulse I never let go of", he reflects. His introspective Same Grind captures over a decade of permanence, from his teenage bedroom in Shiga, Japan to New York City streets.
Photos: Takeshi Hayakawa
Much has changed for Takeshi, but his vision holds true. Now the hometown hero returns to Shiga with a heartfelt souvenir to share. Featuring street, skate, lifestyle and portraiture, threads bound by Takeshi's being, and no other. It's personal. It's moving. It can't be missed!
Catch Same Grind, March 14th, Umi no Schole, 14-29 Motohamacho, Nagahama, Shiga 526-0059, Japan. Don't forget to cop some merch while you're there.
This is your first solo exhibition in Shiga, where you were born and raised. What does it mean to bring this body of work back home?
Bringing this work back to Shiga means everything to me. This exhibition is about my roots — about how times continue to change, but there’s a core inside me that hasn’t. Starting this show in my hometown carries deep meaning because this is where that core was formed. It feels less like closing a circle, and more like returning to the source.
Growing up near Lake Biwa, next to Kyoto, how did that environment shape the way you see or photograph the world?
Lake Biwa gave me space. It’s quiet, open, and slow. Being close to Kyoto also exposed me to tradition and history. That contrast between stillness and culture shaped how I see light, people, and atmosphere. On top of that, this region has a strong and historic skateboarding and snowboarding culture. Growing up in that environment had a huge impact on me, and it still does today. The energy, the DIY mindset, the sense of community — those things continue to influence how I live and how I shoot.
In your statement you talk about spending time alone in your bedroom as a teenager — photos on the walls, VHS tapes everywhere. What were you looking at back then?
My room was a complete mess — covered in skate videos and magazines everywhere. It was pretty bad, honestly. I watched all kinds of VHS tapes from Japan and overseas, but I still remember being blown away by every part of PJ Ladd’s “Wonderful, Horrible, Life. 2002”. That video really hit me. At the same time, Japan back then felt different too. So many cultures were mixing together, and the scene felt raw and exciting. That energy had a huge impact on me.
When did photography stop being a hobby and start feeling like something you had to do?
I don’t think there was a single moment. It happened gradually. At some point, I realised I wasn’t shooting because it was fun — I was shooting because I needed to. Even on bad days, even when no one was watching, I still had the urge to document what I was seeing and feeling. That’s when it stopped being a hobby. It became part of how I exist. Photography became less of a choice and more of a necessity. And now, that necessity has become my profession. What started as a personal urge is now my work — but the core feeling hasn’t changed.
Why the title Same Grind?
It might be a statement to myself — a reminder to stay the same and not lose who I am. In Japanese, the word “grind” can also carry a nuance similar to “to sharpen” or “to refine.” So it’s not just about repetition, but about continuously sharpening myself while staying true to my core.
The show focuses primarily on film photography. What keeps you committed to film in 2026?
Film slows me down in a good way. In 2026, everything is instant and disposable, but film forces me to be present and intentional. Every frame costs something, so I think more, feel more, and trust my instincts more. There’s something about the texture and imperfections — the grain, the accidents, the unexpected light leaks — that feels human. It’s not just about nostalgia. It’s about honesty.
That said, I’m not obsessed with film. I use digital a lot too. It’s not about being strict or purist. For me, it’s simply a way to express myself. Film just happens to be one of the languages I feel most connected to.
Favourite film stock right now?
Kodak Portra 400 and 800. CineStill 800.
You’re part of the Street Dreams collective. How did that come about?
It all started in 2018, when I met Steven John Irby, the founder. I live by the idea of “people to people.” For me, intention and heart mean everything. Status, fame, nationality, or language don’t matter. The same goes for photography and art. What really matters is who the person is and what kind of feeling or intention is behind the work. Steven and the entire SDM crew welcomed me with that same kind of love. They’re like real family to me. We’ve talked about stupid things together, taken photos, and even run a gallery in Tokyo. We’ve done so many different things along the way.
Do you approach shooting in Tokyo differently from rural Japan or the U.S.?
I think they’re completely different. People in the U.S. tend to be more expressive and easier to read, while in Japan emotions can be harder to see lol. When it comes to working in Japan, one of the biggest changes I’ve felt is the growing awareness around privacy. The natural sense of closeness that used to exist in the streets now carries a bit more tension. There’s also a lot of development happening in many areas. While the environment is becoming more uniform and clean, I sometimes feel like the randomness, the noise, and the raw human elements are being stripped away. That can feel a little sad at times.
Do you shoot fast and reactive, or slow and observant?
I’d love to take my time, honestly. Back when I was shooting a lot of street, I’d sometimes stay in the same spot all day, just waiting and observing. I like that pace — letting things unfold naturally. But with work, it’s not always possible. Especially in Japan, things tend to move fast and schedules are tight.
What would teenage Takeshi think of this exhibition?
I wonder. I was pretty sharp and rebellious when I was younger, so maybe he’d be talking some trash about it. Haha. But I’m sure it would’ve inspired the kid I was back then. I’d be happy if it could serve as even a small reference point for him. With this exhibition too, I hope it becomes a moment of encounter — something that can be a reference or spark an idea for some young kid out there.
Where can people cop a book or some merch from the show?
On the day of the show, we’ll have limited apparel, ZINEs, and special merch available. They’ll be sold at the exhibition venue, and also online through my store. If there are opportunities or invitations, I’d also love to try exhibitions or pop-ups in other countries.
Where can we check out more of your work?
You can check out more of my work on Instagram or on my website. I’d love for you to take a look. Hope we can meet in Japan someday.
Same Grind opens March 14th, Umi no Schole, 14-29 Motohamacho, Nagahama, Shiga 526-0059, Japan. Shop Merch and zines, here. Check out more of Takeshi's work here.
Carry like Takeshi, here.
