For over a decade, Kimiko Yoshida has created photos of herself in which she wears elaborate costumes that reference a wide range of subjects, from haute couture to the canon of Western painting creating art photography.
The Japanese photographer challenges that cliché by creating large, color photos of herself in which she wears elaborate costumes that reference a wide range of subjects, from haute couture and indigenous cultures to the canon of Western painting. By constantly changing what at first appears to be a self-portrait, Yoshida says, “I am basically saying that there is no such thing as a self-portrait,” she says. “Each of these photographs is actually a ceremony of disappearance. It is not an emphasis of identity, but the opposite—an erasure of identity.”
Subtle, fictional, paradoxical, Kimiko Yoshida’s Bachelor Brides form an ensemble of quasi-monochromatic self-portraits, fragments of an intimate web, elaborating on a singular story: the feminine condition in Japan. Her images are large format, luminous squares, underlining her fantasy-bio epic. While still very young, Kimiko Yoshida was struck by the story of her own mother, who met her husband for the first time on her wedding day. Kimiko Yoshida’s own story is compelling. Born in Japan, she lefted to France in 1995, where she adopted a new language, a new way to live, to create. She studied photography at the Ecole Nationale at Arles, later she went to Le Fresnoy Studio at Tourcoing.
Kimiko Yoshida has been concentrating on this series of “intangible self-portraits” which can be read as a quest for the hybridization of cultures, for the transformation of the being, and perhaps even as a deletion of identities. The metamorphosis of her own identity into a multiplicity of identifcations expresses the fading of uniqueness, the “deconstruction” of the self.
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