We now have not finished discovering the consequences of confinement on the artistic strategy of artists. Removed from proscribing their inspiration, isolation seems to have most of the time elevated it tenfold. Thus, exiled and entrenched in her New York studio, the Japanese photographer Sayuri Ichida, for lack of fashions, has taken herself as an “object” of research.
The result's lovely and interesting. Absentee (Absent) is the title of this collection, which earned the photographer her Master of Arts on the College of Westminster final yr, and which we discovered with great pleasure in Antwerp within the wonderful Ibasho Gallery (which we'll soon discover at Paris Photograph).
Of nice poetry, flirting with surrealism but of an virtually abstract bareness, we see probably the most tenuous issues, probably the most banal objects, probably the most odd items of wall or window, take on an unimaginable consistency. An virtually tactile presence, an “epidermal” presence one might say, as these discarded objects, these curtains and these corners of the wall often neglected, enter in resonance with the pieces of pores and skin of the our bodies hanging at their aspect. This big exquisite corpse, staged by the photographer, is a disturbing intertwining of the dwelling and the inert, having woven a dialogue between herself, her physique, the silence, and the things that encompass her in solitude.
Hanging one next to the other, in an odd relationship of strangeness and complicity, just like the embedded items of a surrealist puzzle enjoying with the magic of the well-known “probability encounter” said by Lautréamont in Les Champs de Maldoror 1…, the objects and the items of her body, typically duplicated, tell us so many things in the gentle silence of black and white or extinguished tints (grey, midnight blue…): love, loneliness, lack, ready… but in addition envy, the awakening and acuity of the senses, the rustling of the grass within the night time…
Right here, a forearm and a hand abandoning themselves to the darkness subsequent to a bit of wood wanting like a wreck, seeming to pierce the void, veiled, three photographs additional on by a curtain of tulle; there, as if weightlessly and transparently posed, on this similar void, two curled-up twin backs linked by a thread… which is echoed, in the next photograph, by the serpentine line of a twig… Echoing itself the chic nude enthroned, from behind, in the wild grass of a unprecedented night time chiaroscuro… Enjoying with the modifications of scale and format (the nude in foot flaming like a flame in the grass holds in the two shoulders which adjoin it) but in addition of the duplicity of the image (right here, a leg turning into a again…). Sayuri Ichida is more than a photographer, a visible artist. The proof is in the magnificent installations of rubble and other discarded objects picked up in the street, which she has become luxurious video games of phantasm, or the plasticity of her chic patched stomach – a virtuoso collage, an ode to femininity filled with modesty and sensuality.
Born in 1985 in Fukuoka, Japan, Sayuri Ichida now lives in Margate, Kent, after graduating as an artwork photographer from the College of Westminster in London (2021) and as a style photographer from Tokyo Visual Arts School (2006) and dwelling in residence in New York, the place she is going to return this winter for a Mild Work (Artist-in-Residence Program).
Ibasho Gallery – Tolstraat 67, 2000 Antwerp
Stéphanie Dulout
L’article SAYURI ICHIDA STRANGE ABSENCE est apparu en premier sur Galerie Joseph.
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