1981 Born in Hyogo, Japan2002 JAPAN INSTITUTE OF PHOTOGRAPHY AND FILM | Japan｜Prize｜2005 Fuji Photo Salon “The New Face Prize 2005”［Incentive award］2002 Canon New Cosmos of Photography 2002［Excellence Award］
2018 “samskeyti” / WACOAL STUDYHALL KYOTO | Japan2016 “Ordinary Days” / galleryMain,Kyoto | Japan2007 “correspond” / space gallery roundish,Osaka | Japan2006 “Regards” / Early Gallery,Osaka | Japan2005 “Dear” / Early Gallery,Osaka | Japan2002 “Where we are heading for” / The Third Gallery Aya,Osaka | Japan｜Selected group exhibitions｜
2017 “Spring has come! 4artists,4aspects” / Mugi Nakajima Tani6 atelier, Osaka | Japan2016 “-Offerings-Ⅱ” / THE TERMINAL KYOTO, Kyoto | Japan2007 “GUILD GALLERY OSAKA SUMMER ARTPHOTO MARKET” / GUILD GALLERY,Osaka | Japan2005 “auracross Selection Vol.4 NEXT!” / auracross,Osaka | Japan “at auracross” / auracross,Osaka | Japan Fuji Photo Salon “The New Face Prize 2005” / Fuji Photo Salon, Tokyo/Osaka | Japan2002 “Canon New Cosmos of Photography” / Tokyo Metropolitan Museum of Photography, Tokyo | Japan
Samskyeti means a join, junction and seam in Icelandic language.
About 16 years ago, Yoshida’s father was fighting an illness. During this period she was able to photograph only her mother, who was taking care of her father, perhaps because she was unable to confront the possibility of his death. Consequently, Yoshida is left only with photographs of her mother from this that time, a fact which has come to be a great regret for the artist.
There was a reason why Yoshida could not face her father. At home he was always irritated by something and used to shout at the whole family and her. Thus, her mother tried to put children stay away from him, and they avoided him as much as they could.
Her father had not been the father figure that she might have wished for as a child. However, a strong memory she has is of him taking her to church every Sunday, despite neither of them being Christian. She never questioned his motivations nor reasonings behind this.
10 years after his death, Yoshida began visiting churches abroad. This work, “Samskyeti”, was shot in Iceland in 2014, where she visited an isolated church located in the middle of a field; which somehow resonated with her memories of her father. Most homes in Iceland are scattered widely. As such, churches serve both a religious and social purpose, offering opportunity to meet and communicate with other residents. This relationship between the local residents and the church reminded Yoshida of her father.
Whilst there may not seem to be any link between the two, there is in fact a distinct and strong parallel.
Through visiting a number of churches since her loss, Yoshida has been able to reconcile herself with the memory of her father, and their time together during her childhood.
Photograph, 120 mm colour negative film / colour print
2016 /35mm colour film, print, dibond
Minako Yoshida, born in 1981 in Hyogo, Japan, has received numerous awards for her photography, including “The New Face Prize”, an incentive award from the Fuji Photo Salon in 2005, and an excellence award from the Canon New Cosmos of Photography in 2002.
“Everyday Life” as a collection comprises 1,260 photographs in total.
Yoshida was truly determined to become a professional photographer and had been working to make this a reality when she met her husband. However, living and working alongside her husband, who is a painter, resulted in unforeseen and immense pressure which caused her to lose motivation in her professional pursuits. She was unable to reconcile the role of her partner as a husband and a fellow artist, and how this affected her emotionally, artistically, and motivationally. Nor was she able to achieve balance between her own role as his wife, and her own artistic ambitions. This artistic block lasted nine years, during which she did continue to take photos but without any particular projects in mind.
“Everyday Life” is so entitled in reference to some personal realisations that the artist experienced. The pivotal moment came during a trip to Iceland, where she was able to find a way to emerge from the artistic block, enabling her to shift her perspective of herself as both a photographer and wife. Now able to recognise the privilege of having a loving husband and family, and cherish the simple aspects of life, she describes how she is ‘very much thankful to be able to relish every simple day”.
Throughout the collection “Everyday Life”, viewers are able to engage with the artist’s own psychological process, but also perhaps reflect on their own everyday lives.