Makotu Nakagawa | Japan
What will be after death? It can probably be "nothingness". Then, what is true mourning? Strongly realizing the disconnection with the dead, and enduring the extreme of sorrow. These pictures are the remains of my father. He was half a century older than me, so I grew up worried that he would die in near future. Since I was in photography school, I have been taking pictures of him for nearly 10 years. However, death was abrupt. There was no notice, no reason, no promise, death took away almost all of himself. At that time, I came to know despair for the first time in my life. The only world when he alived was over. Nonetheless, I keep bending ear to these remains. In order to carry this world after he passed away. The work is only way for me to listen to the voice of silence.
uro no ena - the remains of my father
Contemporary Art Station: Tell us about how you got started. When did you know you wanted to be an artist?
I majored in aesthetics and art historiography at Keio University in Tokyo. At that time, I saw Diane Arbus's "Untitled" and was struck by lightning. Then, I wanted to take something that only I could take, and I aimed for a photographer in earnest. After graduating from college I learned skills professionally at Tokyo College of Photography in Yokohama.
CAS: What is your process like, from initial idea to the creation of the piece? Do you usually develop the idea for a project before you find the "canvas", or vice versa?
It doesn't take much time to make a single photo. Several photos are in progress at the same time, but it takes only 3-4 days to complete all the processes such as shooting, making negatives and printing. However, it takes a little more time for me to be convinced that those photos are strong enough to stand as art work. For example, it took more than 10 years for the series "uro no ena". In fact, for a long time, I did not know what I was doing. Until I finished taking pictures of my father's remains. When it was done, about one thousand photographs of my father (including bodies and portraits) taken so far became to connected by one line.
CAS: What do you love most about your creative process?
When I press the shutter button, the vibration of the blade iris opening and closing is transmitted to me via cable release. I really like the moment. My aim is to scoop up "the presence" that constantly going to disappear. It always fail, but only this moment gives me the feeling of having caught "the presence."
uro no ena - the remains of my father
CAS: What role does art and the artist play in the broader social conversation today?
The role of art and artists is to make the viewer aware of new perspectives. There are always questions and surprises. Art is not explainning the truth, nor teaching morality, nor emboding religion. It is the way to get to know reality better.
CAS: Name a few of your favourite artists and influences.
There are countless artists that have influenced me, but to name a few, they are Jan Groover, Muqi Fachang, Mark Rothko.
CAS: What is the best advice you received as an artist?
That's the word I received from my teacher when I was in college of photography. "Keep doing one thing. It may take 10, 20, or 30 years, but you will come to know something."
CAS: When did you discover your voice as an artist?
As mentioned earlier, when I finished taking pictures of my father's remains, about one thousand photographs taken so far became to connected by one line. At that time, I realized that I made works as an artist.
CAS: What advice would you give to emerging artists trying to find their own?
Japanese aesthetist Juzo Ueda said like this. "What leads artist's life is the artistic conscience of him. It is to listen to the call from deep bottom that he has not seen yet." I always say this to myself. So I want to tell them.
uro no ena - the remains of my father
