![]() YY: And what kind of pictures were you taking? I did a lot of things like drawing and crafting, but taking photographs became a special thing. I think it was a very primitive desire, a feeling close to impatience. My father was a theatre director and my mother was an actress, so I wanted to become a person who can express something as soon as possible. When did you first realize that you were addicted to photography? Yuka Yamaji: When we were walking together in London on your recent visit, we kept losing you whenever something would catch your eye and you would stop to shoot it. Ninagawa has published extensively, including nearly 100 photobooks to date, and her work is held in many prominent collections, which include the Tokyo Photographic Art Museum, Huis Marseille, Amsterdam and UBS Art Collection. In 2014, she was appointed to the executive board of the 2020 Tokyo Organizing Committee for the Olympic and Paralympic Games by virtue of her contributions to Japanese art and culture. Since then, Ninagawa has gone on to set new museum attendance records in Japan with her traveling exhibition Mika Ninagawa: earthly flowers, heavenly colors in 2008-10, as well as in Taiwan with her first overseas retrospective, which was presented at the Museum of Contemporary Art, Taipei in 2016.īranching out into filmmaking in 2006, Ninagawa has directed two successful feature films to date - Sakuran (2007) and Helter Skelter (2012) - and is set to release two new films in 2019. Her work was first exhibited outside Japan in 1997 at the iconic Parisian concept store Colette, and in 2001, at the age of 29, she received the 26th Kimura Ihei Award (Japan's most prestigious photography award). Daughter of acclaimed theatre director Yukio Ninagawa, she first came to prominence in the late 1990s as one of the leading lights of Japan's 'Girly Photo' movement. In Mika Ninagawa: In Conversation, Phillips' Yuka Yamaji and the artist discussed beginnings, her springtime addiction to sakura and why she photographs.įor over two decades, Mika Ninagawa has walked her own path, becoming the first and only woman photographer to have attained pop icon status in Japan. Through this portal, we are invited to enter Ninagawa's distinctive world populated by vivid colors and dense imagery. In this dynamic work-seemingly contrasting notions of life and death, natural and artificial-the traditional and contemporary converge. The subject sakura is one of the artist's signature motifs. ![]() In our first Evening edition of ULTIMATE, we are thrilled to premiere earthly flowers, heavenly colors, 2018, a unique installation by Mika Ninagawa. Within, the images present a visual array of colour and splendor, each capturing its own fragment of an edenic landscape set amongst the backdrop of the memorials of graves, Everlasting Flowers is a vivid portrayal of a garden of life and death seen through the artificial manifests and symbolisms of floral tributes.Mika Ninagawa earthly flowers, heavenly colors, executed 2018 ![]() Published by Shogakukan in 2006, Mika Ninagawa’s Everlasting Flowers takes a look into both the aesthetic and ritual symbolisms of flowers. ![]() The boundary between life and death become fragile, and I repeatedly getĪ sensation as though my own silhouette starts to dissolve.Īfter all, it’s pretty easy to cross over the other side." It is the nirvana on earth where the space-time gets twisted, Strong sentiments of the people who wish to hold onto memories of their loved ones, perennial flowers dedicated to those who lived out a given period of time with hope for eternity.įlowers intertwining with grasses bloom toward the blue sky and insects Under the unrelenting blaze of the sun, real flowers will wither afterĪ short period of time. It was the year of 2000 when I first encountered the sight whereĪrtificial flowers were stuck out from the clod of earth covering the grave.įrom then on, for six years, I had continuously paid a visit to grave sitesįlowers featured in this book are all artificial flowers, fake flowers. "Lurid blue sky and violent burst of colors.Ī blurring silhouette, the conviction of having ventured into the other side, ![]()
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