In Filthy, Tana Oshima has a frank confrontation with the uglier views our country has toward immigrants. The otherness that is applied is interpreted by Tana as a dirtiness that can’t be washed away. In a Kafkaesque essay about living and working in an adoptive country, Tana reveals how soiled our nation’s citizens’ hands are.
Tana’s drawings are simultaneously grim and whimsical. Mystery covers mask-like faces, buildings curl, and litter and stains enhance the idea of filth.