10 Questions with Eriko Kaniwa of SENSEGRAPHIA FINE ART

Eriko Kaniwa is an international award-winning photographic digital artist based in Tokyo and the creator of Sensegraphia fine art. Sensegraphia is a conceptual redefinition of photography, in which the visual aesthetics of the photograph are used to develop and express the sense of nature that enables us to recognize that humans are a part of nature. She creates digitally enhanced abstract artwork as well as fine art photography, based on her unique philosophy. Her work has been displayed at galleries in London and New York. At the art fairs and international exhibitions such as Fotofever Paris and Barcelona Foto Biennale, and so on. Her artworks are seen or featured in the magazines such as British GQ online, London Life magazine, Wired, OPENEYE, and more. Also, the books that have been published "JOKEI - Symbols of Nature Worship - Sacred Places of Japan", collective B&W works of that spiritual landscape of Japan" and "Texture of Absurdity" - collective abstract artworks have been valued and appreciated by multiple international awards as one of the best fine art books in the world. In addition to this book, her other works have received multiple international awards.

sensegraphia.jp | @sensegraphia

 ARTIST STATEMENT

To take photographs and look at them is to become a witness to the manifestation of events that appear and disappear within the flow of time immemorial. For me, photography is not a philosophical metaphor for death or the past, but rather a crystallization of the temporal dimension with which humans react so vitally, achieved through the medium of light. It is an action in the fourth dimension, attempting to step outside the flow of time and grab hold of something to confirm that we live in a world side by side with death. Beyond mere seeing lies contemplation and communication of the world. Is this not the responsibility of all those who engage in photography?

Beauty and art overcome the obstacles of language and distance, allowing us to experience, express, and share a feeling of respectful awe, as well as the moving realization that human beings exist as just one part of planet Earth. To me, that is photography. I hope that by building on the concepts of nature passed down across generations in my native country of Japan, we will together be able to sense something and compose a story.

Watery Being - Jellyfish | PROJECT DESCRIPTION

When jellyfish is translated into Japanese kanji, there are several ways to say it: sea moon, water moon, water mother. It's profoundly interesting to imagine how the people of the old-time looked at them in the sea. It is said that they are plankton as a species, it is difficult to definite what kind of nature’s intentions or energy flow they live according to, they flexibly and softly beyond the limits of human imagination for living organisms, like an alien.

The organically constructed body and the constant movement of the tentacles, which are intertwined like threads, bring the diversity of life forms to the depths of our mind, never get tired of seeing it.

INTERVIEW

Could you tell us a little more about your background and how did you begin making art?

This way of expressing something using visual art is as natural to me as breathing. Now, let's make art! I didn't start thinking like that.

I had the experience of finding myself again by taking a picture. My identity was shaken when I gave birth. The reality that one life is nurtured and born from within had surpassed me. At that time, suffice it to say when I started taking pictures of plants in the garden with a macro lens. I realized with my soul that the universe, which I cannot usually see, is living so active and connected even at this moment. Perhaps it might be the origin of the current activities. 

Also, I have another experience of seeing a mysterious sphere of light hanging down from a pine tree at an early age. This is what I said in other media, the appearance of the behavior of light on an object or using visual technology to create an internal vision, a medium like photography that burns that kind of vision into two dimensions has been appealing to me since my adolescence.

What is the secret behind SENSEGRAPHIA FINE ART?

Sensegraphia is a conceptual redefinition of photography. I founded 2014. The visual aesthetics of the photograph are used to develop and express the sense of nature that enables us to recognize that humans are a part of nature's dynamics. 

The logo design inside the circle is an abstraction of the Japanese characters meaning 'see' and 'feel'. The circle represents both the Earth and the traditional latticed windows of Japan, expressing Sensegraphia's photographic philosophy of using the window of our senses and the Earth's metaphor to see and feel things as fine art.

However, recently, it has been getting slightly changed. I feel myself, how we could be open for the profound relationship of modern technology and we human being as a part of nature. I want to pursue it and to puts forward it by using creative activities to reestablish the essential unity within our senses.

What are you trying to communicate with your art?

In my case, the concept always comes first. However, it is thoughts and letters, so it's very challenging for me to express it visually. The working process often needs time, but once the inspiration overflows, the work goes fast. Some of them are easy to understand for everyone; others often come to abstracts.

Now, I hope that the viewer will feel something noisy in their hearts and feel a different side of what they are accustomed to seeing. In that sense, my work could be said a kind of noise.

Can you tell our readers what inspired you to create your Watery being - Jellyfish series?

When jellyfish is translated into Japanese kanji, there are several ways to say it: sea moon, water moon, mother of water. It's profoundly interesting to imagine how the people of the old-time looked at them in the sea. It is said that they are plankton as a species, it is difficult to definite what kind of nature's intentions or energy flow they live according to, they flexibly and softly beyond the limits of human imagination for living organisms, like aliens.

The organically constructed body and the constant movement of the tentacles, which are intertwined like threads, bring the diversity of life forms to the depths of our mind, never get tired of seeing it.

How do you find connections between nature and photographic art expression?

Well, I must say that I am still in the process of learning, meaning throughout my life on this theme. As a basic premise, the idea that the god of Yaorozu - meaning eight millions of God, each element of the world is the universe/god itself, is rooted in Japan. My parents also had a pious way of thinking about nature, so I don't particularly think that "it should be this way to connect nature and art." Visual art creation is very natural, and it's the same as eating and breathing for me.

However, in recent years, the tremendous development of technology has made the boundary between nature and science & chemistry thinner and thinner. The influence of this has also extended to my production of works. While I have a sense of crisis and wonder how the flow may no longer be stoppable. Also, I want to keep sensing nature in spirit as a human being. I believe the expression through art will become important more and more from now on.

What is your creative process like?

As a large part of my work involves digital manipulation, the so-called "digital darkroom" is an integral part of my work, like a paintbrush is for a painter. When I do digital workflow, I often get more caught up in the process of painting. Since "photograph" comes from the Greek words for light and writing, the concept itself may be similar to painting. Sometimes even completion of artwork could be an element for the next expanded concept. However, I have to admit an expression of physicality, like Jackson Pollack's, would be difficult to do in a digital darkroom. 

An experiment of sense expanding expression is always for the next step to realize.

What is for you the most enjoyable part of your art?

Everything!

When I see something intriguing in nature, it makes me think, "How I could lead them into my own world of nature to express it. Or when I reach something profound matter regarding high technology, I think, "Is this a part of the greater flow of nature?" "Are we created or being born?" This is the beginning always. There is no answer, but it is possible to think about it by expressing it as an art. 

It is curious to say that every artist might feel like this, the work demands me to revise when something is wrong or short, but once it is done, the work tells me, "You don't have to touch me anymore" It is the very interesting part.

How did 2020 influence the way you express art?

I was hardly able to go anywhere in another prefecture out of Tokyo to take photography. Sadly, it was so stressful, and now anxiety for the infection makes me feel uneasy. I must admit, for now, it is an obstacle to creation. However, it made me think like this simultaneously: "Alternatively, how could it be expressed using another way?" The thought brought me to dig deeper than before about my own philosophy, especially about "Sensing nature, and the relationship with the scientific modern technology "and the abstract expressionism of digital art, as my own creation.

What are you working on now, and what are your plans for the future?

Now I am working on the new series "Parasite - Parasitic bugs of memory of pain."

At the beginning of this year, in the process of the new US presidency inauguration, when the true value of democracy was questioned, I was thinking at the same time how to deal with my own pain in such a tide of turmoil. I see the world now. It seems like fetal movement and labor pains for a new era. Whether it's individual or social, if you pretend not to see and not to face it, you may not be able to move forward. Now I feel I need to do it myself. The world is a mirror. 

They are the bugs that appeared in such a process, and they may be rather ugly for some people but a part of myself. 

As a plan this year, I will probably go back to the university, and I would like to deepen my learning and perspective about visual art.

Finally, Share something you would like the world to know about you?

I often get asked whether I feel it's a contradiction to use a camera and a computer, which is a triumph of technology, to depict my philosophy. As you may know, the root of the word "technology" is the Greek term techne, which referred to skills used in all different fields. This means essentially; I could say that art and technology are on the same basis. Also, I could say that using technology in meaningful ways is exactly what allows us to discover new ways of seeing the essence of things. Once a friend of mine in London advocated the idea of "Art as medicine" to cure our invisible mental illness and the "philosophical technology" of the modern era. 

I believe it is the issue of how we could see and face philosophically. What exactly does the invisible soul illness latent in us living in the present age come from? What can art do for it?

We have to breathe air, we have to drink water, and we have to eat to live. We tend to forget, but humans are 100% dependent on nature. Once again, we are part of nature on this Earth, and everything we need to live is provided by nature. How can art and technology give back to nature?

If my art could be anything trigger for cured or expanding your senses, that would be wonderful. I will continue to pursue it. Thank you.