In one novel, a woman who was no longer young spoke to a lot of people in the past, but nowadays she completely sees herself and sees it in everyone's eyes. It was a stupid thing to feel that you weren't reflected.
Is it when you stand in front of a mirror and when you look at yourself in the picture that you recognize yourself? If you stand in front of a mirror, you will be reflected in yourself. The person who looks back at himself in the mirror must be himself, but always feels something different. Mirrors and photographs show that I have a face, go outside, physically occupy a certain space, and exist, just like people in the outside world that I perceive. Check again.
The sense of this shift is not only due to the fact that the world cut out in the frame of the mirror is inverted inside the mirror, for example. For me, the figure of occupying the inverted space is to the inside, through some acceptance from some outside demand and my desire to be like this, through acceptance and negotiation. I've become accustomed to it, and there is no consistency with my inside, and I feel even perversion. Unless we are blind, we perceive the outside world primarily by sight, but sight may not be very useful when it comes to our perception of ourselves. And the gap does not end by being silently left alone as a matter of my own, various things begin from there.
The series of pictures in this mirror are part of an idea sketch of the relationship and distance between me looking at / and me looking at (what? To myself? To society?). Since it is also a reference to oneself in a mirror, the social attributes of the represented representation are such that the mirrors reflected are all belongings of women after their late twenties, and the gender of the owner of the mirror And the age group identified themselves.(From the production memo)
Born in Tokyo; currently residing in London
After moving to Britain in 1989 and earning a Master's degree in Fine Arts at Goldsmiths College, University of London, Yokomizo continued her artwork with a focus on photography and video. Among her productions are photographic works that structurally incorporate the action of “seeing,” And videos on the topics of time and the body.In recent years she has been investigating the relationship between images and people.Bymaking use of photography's special properties, Yokomizo questions various relationships between the medium and human beings as subject matter.There is a stark contrast between the intimacy of "Sleeping", depicting a sleeping friend in a dark bedroom, and the brusque encounter in "Stranger", showing someone writing a letter to a seemingly unknown person without exchanging a word. Yokomizo selects her medium based on the theme of the work.This is apparent from "Forever (and again)", a video work focusing on the performance of an aged pianist, which deals with the theme of “time.” The series titled "all", depicting a pregnant woman's body in which fantastic images intersect with reality, gave Yokomizo the opportunity to contemplates further on the cultural-anthropological issue of what images really are.
artist statement ; When making a prayer, there is a separation from the everyday; a throwing forward of the foundation of one's existence and seeking its ideal. It is a state of suspension, between one's present relationship to the world and its aspiration. It is a private act but at the same time, it is a selfless act, since the subject of the prayer extends beyond one's own ego. And by making a prayer, the utterance of the word of prayer reflects back upon us so that the person who prays may also be the subject 'prayed'. In this suspended state, where the active and the passive coexist, there is also another dimensional split. A prayer is prayed towards an ideal not yet realized, yet within the word of prayer itself, the ideal is in a sense already accomplished and realized by being performed (prayed). The inversion of the subject's activity, to become passivity, and the intricate simultaneity of future and present may acutely emerge in the conscious act of prayer. However, these are also experienced as the very condition of our being, within the movement of desire, especially in the relationship with what is the Other to oneself.
I intend to illuminate the act of prayer as an extraction of a primary structure of our existence.
In Phantom, Shizuka Yokomizo places five photographs opposite five videos. In each video a person describes a chance paranormal
experience. All of this is inexplicit, and the viewer is left wondering who these people are, and whether their stories are true or not. The truth is that all of them are hired professional actors, and are seriously “acting” a role they have played before. This fictional character is sharing personal accounts of apparition experienced by the actor him/herself (not the fictional character). Nothing is certain in the series of video and photograph except the story of this "real" encounter with ghosts. In Phantom, Yokomizo's another approach to portrait depiction, the carefully staged multi-layered setting brings an abstract contour of mankind to our perception.
Yokomizo has evoked a sense of paradox in her series all, 2008, which depicts female prostitutes in London. Shot with soft natural lighting, including the diffused sodium-yellow glow of a street lamp seen through bedroom curtains, the red forms of the women fading into and out of blackness convey a palpable sense of the naked body’s vulnerability. Although several of the images emphasize nudity rather than the expressions on their faces—one is shown on all fours, bent over and facing away from the viewer—they are not sexualized. The male viewer cannot help but be reminded of his gender and relationships of power. Yet the interjection of kisses, made with pale lipstick on the surface of some of the photographs (in one, it has been placed on a woman’s face, while in another it rests on her stomach), is an affectionate reassertion of the woman-to-woman relationship through which the artist has engaged with her subjects.
Shizuka Yokomizo explored the phenomenon of the photographic image by looking at its different visual and non-visual spaces in its various stages of making. Her work to date has put emphasis on the conditions of producing the photograph, often effectively raising the material and temporal status of this alongside that of the image itself. In her new work titled Impose / Retreat, that was shown here, she takes instead the residual material of a previous project, engaging with it as a material in limbo, disconnected but not disavowed from its original conditions. The images derive from the out-takes of one of several shoots in 2008/9 when Yokomizo was involved in meeting various women in hotel rooms and photographing them in their trade as sex workers. Although an original intention and contractual aspect are still embedded in these images, they have in a sense slipped out of vigilance and are both prone to manipulation as well as having a life of their own, somewhat liberated by a minor and abstracted status. A close view of the image material revealed a toughness and vulnerability, an anonymity and personality that was vital in constructing its new visibility. The works can be seen as moments of question and pause to prompt identification, reception or consumption and a glimpse of the autonomous spaces that images inhabit.