Yuki Onodera has, variously, used transformation and intervention techniques, straight photography (of scenes she set up herself), found photographs, and digital photomontage, the links between them being intellectual rather than visual. For Transvest, the artist has made montages not only from images she has taken herself but also from newspapers, magazines, video and other media, using both traditional cut-and-paste methods and the more sophisticated digital technology. Her silhouettes, made from magazine clippings, stiffened and set upon a glass platform, are instantly recognizable – the soldier, the scuba diver, the tap dancer, the mother and child. Onodera has selected the shapes of the figures for their evocative capacity and the sense of déjà-vu they convey. We are sure we know what is there, but still must conjure up the details for ourselves. Alongside these stark and stylish figures are more complex pictures; scenes that include the ripple of a lake’s surface, night-time at a harbor, mountain slopes, ruined buildings, indeterminate animals – a range of subjects of disproportionate size collected together and placed on a surface of darkness. As with the silhouettes, the closer you look, the more you see – both on the page and in the imagination. Essay by Dana Friis-Hansen.
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