Kimiko Yoshida’s quasi-monochrome self-portraits are well known and well akcnowledged. These large, square, subtly lit monochromic photographs constitute her signature works since 2001.
The artist, who sees a figure of the infinite in monochrome, regards the self-portrait as a disappearance: totally conditioned by the experience of transformation, her art develops the highly contemporary stance of protest against voluntary servitude, stereotypes of ‘‘gender’’ and biological determinism of heredity.
“Art is a subtle process of transposition, an assiduous struggle with the state of things. To be there where I think I am not, to disappear where I think I am, that is what matters.”
Her new series of photographs, majestic and indecipherable portraits conceived with the history of art in mind, is entitled Painting. Self-portrait.
This symbolic transposition of the chefs-d’oeuvre of the old masters into large achival prints on canvas is based essentially on the diversion of haute couture garments and accessories designed by Paco Rabanne.