{"id":416124,"date":"2024-03-08T13:55:00","date_gmt":"2024-03-08T18:55:00","guid":{"rendered":"https:\/\/www.1stdibs.com\/blogs\/the-study\/?p=416124"},"modified":"2024-03-08T16:46:18","modified_gmt":"2024-03-08T21:46:18","slug":"rinko-kawauchi","status":"publish","type":"post","link":"https:\/\/www.1stdibs.com\/blogs\/the-study\/rinko-kawauchi\/","title":{"rendered":"Photographer to Know: Rinko Kawauchi"},"content":{"rendered":"\n
\"Untitled<\/a>
Untitled<\/em>, 2001, from the series “Hanabi.”<\/a> \u00a9 Rinko Kawauchi \/ courtesy of Christophe Guye Galerie<\/figcaption><\/figure>\n\n\n\n

Rinko Kawauchi<\/a>\u2019s dreamy photographs seem to rise from the earth as living beings, whether they\u2019re shots of her children playing or dramatic scenes of volcanic landscapes. They are primordial and poetic, personal and prophetic, and light is as much the star of the pictures as any more material thing she points the camera at.<\/p>\n\n\n\n

Light sources and reflections glint and sparkle, washing the photographs in gentle hues; hard edges soften or become hazy, as if viewed through squinted eyes veiled by lashes. Kawauchi achieves her trademark effects with the camera (rather than in postproduction), usually her trusty Rolleiflex with 6×6 film.<\/p>\n\n\n

\n
\"Untitled,<\/a>
A 2005 self-portrait from the series “Cui Cui.”<\/a> \u00a9 Rinko Kawauchi \/ courtesy of Christophe Guye Galerie<\/figcaption><\/figure><\/div>\n\n\n

One of the most recognized artists in Japan, Kawauchi is being celebrated with her first Swedish museum exhibition. The show, \u201ca faraway shining star, twinkling in hand<\/a>,\u201d at Fotografiska<\/a> Stockholm through April 14, centers on two series: \u201cM\/E\u201d and the ongoing \u201cAn interlinking.\u201d<\/p>\n\n\n\n

The pictures in \u201cAn interlinking\u201d capture micro-moments in Kawauchi\u2019s life, exploring themes of growth and joy, death and decay. The settings are cropped or partially concealed in ways that open them up to viewers\u2019 projections: her toddler hiding behind a translucent curtain, a close-up of cracked tiles emblazoned with butterflies, a stiff bird frozen on a blanket of snow with nothing around to place it in a particular location.<\/p>\n\n\n\n

\n
\"Rinko<\/figure>\n\n\n\n
\"Rinko<\/figure>\n
Left: Untitled<\/em>, 2012, from the series “An interlinking.” Right: Untitled<\/em>, 2019, from the series “M\/E.” \u00a9 Rinko Kawauchi \/ courtesy of Christophe Guye Galerie<\/figcaption><\/figure>\n\n\n\n

\u201cM\/E\u201d (for \u201cMother Earth\u201d and also \u201cme\u201d) stemmed from the photographer\u2019s 2019 journey to Iceland, where she shot wide-view photos of epic glaciers, geysers and waterfalls. But the series took a different turn in 2020, when COVID lockdowns prevented her from returning to the Nordic island nation.<\/p>\n\n\n\n

From 2020 onward, the \u201cM\/E\u201d photos began to look more like those from \u201cAn interlinking\u201d \u2014 but with an eye to the natural world. So, we see a tiny snake trapped under a bell jar, a sliced and peeled apple on a plate, a spiderweb dotted with dewdrops. These are scenes hinting at a family endlessly curious about the goings-on in the natural environment of rural Chiba, Japan, where Kawauchi has lived since relocating there from Tokyo in 2018. <\/p>\n\n\n\n

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\"Untitled<\/a><\/figure>\n\n\n\n
\"Unititled<\/figure>\n
Left: Untitled<\/em>, 2020<\/a>. Right: Untitled<\/em>, 2021. Both are from the series “M\/E.” \u00a9 Rinko Kawauchi \/ courtesy of Christophe Guye Galerie<\/figcaption><\/figure>\n\n\n\n

\u201cWe get to see small glimpses from Kawauchi\u2019s life \u2014 sometimes it is in a close-up photograph of an apple she or someone else has just eaten or a view of a beautiful landscape,\u201d says Jessica Jarl, global director of exhibitions at Fotografiska. \u201cEverything is connected. The works are about life and our presence on this planet. She has an amazing ability to tell a photographic tale, capturing everyday life or the Icelandic landscape, but always with her recognizable dreamlike style and in a soft color palette.\u201d<\/p>\n\n\n\n

Born in Shiga Prefecture in 1972, Kawauchi studied graphic design and photography at Seian Women\u2019s College (now Seian University of Art and Design). After graduating, in 1993, she entered into a creative career in advertising and commercial projects. <\/p>\n\n\n\n

Eight years later, everything changed. In her spare time, Kawauchi had been taking more-artistic photographs with her Rolleiflex. These had the spritely, celestial-yet-quotidian flavor of the work she produces today, inspired by Japan\u2019s indigenous Shinto religion, which teaches that all earthly entities and forces of nature are embodied by supernatural beings called kami<\/em>.<\/p>\n\n\n\n

\n
\"Rinko<\/a><\/figure>\n\n\n\n
\"Rinko<\/a><\/figure>\n
Two untitled photographs from the 2001 series “Utatane<\/a>.” \u00a9 Rinko Kawauchi \/ courtesy of Christophe Guye Galerie<\/figcaption><\/figure>\n\n\n\n

In 2001, she released three photo books simultaneously: Utatane<\/em> (“nap,” or “siesta”), Hanako<\/em> (a feminine Japanese name) and Hanabi<\/em> (“fireworks”). The bold move got her noticed. Hanabi<\/em> and Hanako<\/em> earned Kawauchi the 2002 Ihei Kimura Prize for new photography, and she won the Photographic Society of Japan\u2019s 2002 Rookie of the Year Award as well.<\/p>\n\n\n\n

\u201cAlready in the first series, she had found her unique style,\u201d Jarl says, \u201cthe poetic quality and her way of working with the light and sticking to the soft color palette. I think she has refined this style over the years.\u201d<\/p>\n\n\n\n

\"Rinko<\/a>
Untitled<\/em>, 2013, from the series “Ametsuchi.”<\/a> \u00a9 Rinko Kawauchi \/ courtesy of Christophe Guye Galerie<\/figcaption><\/figure>\n\n\n\n

The publications also set the tone for what would be Kawauchi\u2019s main medium for sharing her work: lush and spare books that pair her photography with her poetry.<\/p>\n\n\n\n

She has produced more than two dozen such volumes, including AILA<\/em> (2004), Cui Cui<\/em> (2005), Murmuration<\/em> (2010), Illuminanc<\/em>e (2011), Ametsuchi<\/em> (2013), Halo<\/em> (2017), When I was seven.<\/em> (2019) and M\/E On this sphere Endlessly interlinking<\/em> (2022). These have often been expanded into museum exhibitions around the globe, held at such renowned venues as the Museu de Arte Moderna de S\u00e3o Paulo<\/a>; the ARGOS Centre for Art and Media<\/a>, in Brussels; the Tokyo Opera City Art Gallery<\/a>; the Shiga Museum of Art; the Gallery at Herm\u00e8s<\/a>, in New York; and Christophe Guye Galerie<\/a>, in Zurich, where she has had several shows since 2013.<\/p>\n\n\n\n

\"Rinko
Untitled<\/em>, 2020, from the series “M\/E.” \u00a9 Rinko Kawauchi \/ courtesy of Christophe Guye Galerie<\/figcaption><\/figure>\n\n\n\n

In the Fotografiska exhibition, which travels to the museum\u2019s branch in Tallinn, Estonia, in May, Kawauchi and Jarl have included video works, photographic sculptures and lightboxes. Still, it\u2019s the more ordinary scenes that tug at the heart.<\/p>\n\n\n\n

\u201cIt\u2019s hard to pick a favorite, but one that I like is a photograph of her child walking down a road, the sun\u2019s rays filtering through the trees,\u201d Jarl says. \u201cAs a mother, I can relate and have strong feelings when looking at it: How you as a parent see your children grow up and how they shape their personalities and lives. This little person is in this big world, and you want to protect them and stay in the moment.\u201d<\/p>\n\n\n\t

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Rinko Kawauchi\u2019s dreamy photographs seem to rise from the earth as living beings, whether they\u2019re shots of her children playing or dramatic scenes of volcanic landscapes. They are primordial and poetic, personal and prophetic, and light is as much the star of the pictures as any more material thing she points the camera at. 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