Those who are familiar with the photographer’s work may sense a thematic retreat in her latest publication. But, for the artist, every photobook feels like a “step forward from the last”, she says. Reflecting upon her oeuvre, many of her works revisit the same motifs. Nature, the cycle of life, and family, for example, but most prominently, dreams. With Ametsuchi, it was a dream that led her to Aso, a volcanic region famous for its ancient farming rituals, and Utatane, the title of her first publication, refers to the state of being half-asleep. “I dream a lot,” says Kawauchi, but, rather than mimicking a dreamlike state in her images, it is the space between reality and fantasy that she seeks. “Part of why I make photographs is to confirm my existence,” she explains. “That liminal space is what feels closest to how I experience reality.”
In Kawauchi’s practice, reality and the spiritual world consistently interact – be it conjuring a magical realism out of the mundane, or shooting otherworldly landscapes. Shinto, Japan’s indigenous and most common faith, is based on belief in ‘kami’, loosely translated as ‘god’, but more accurately, sacred spirits that take the form of important objects and concepts, such as elements of the landscape. Kawauchi believes in the existence of a greater force within nature, which she experiences “in the sunset I see every day from my home, or when I encounter a kind of light that can only be seen in that moment”, and she seeks to capture this through her photography as well.
Contemplating our relationship with nature and the cycle of life feels poignant, as Kawauchi and I speak from a safe distance in her publisher’s office in Tokyo, both of us wearing facemasks, occasionally peeling them aside to sip on iced coffee. It is mid-September in Japan, and life is somewhat returning to normal. But, elsewhere in the world, a second Covid-19 lockdown feels imminent. There is a sentiment that the world has been reminded of a force far greater than humanity, and revisiting Kawauchi’s work is a reminder that nature is not only a source of beauty, but a place of refuge. In its simplest form, her work teaches us to recognise its subtle gesturing, be it a cloudy sunset, snowfall at night, or the shifting seasons, spent with people we love.