People and boats are seen in the distance, amid a composition that emphasizes the horizon. All of the thirty-two scenes that make up the work are shot at a beach in a certain place in Okinawa. Concentrate on the images for some time and you’ll soon notice something a little strange. The small ripples on the sea surface move a little too fast, the footsteps of the people stepping through the shallows are a little too heavy. The fast and slow motion generate a modest alienation effect, and prompt the viewer to anatomize the shot into small phenomena. Our eyes gradually become accustomed to them, and we start noticing other even more minute and mysterious details: the light reflecting on the fishing rod, a bird crossing the screen, boat and yachts unexpectedly changing course, two people talking and walking in the shallows, a person abruptly poking his head out of the water, and the contrast between the movement of clouds and people on the ground. Hints of drama exist here. Where will the people, the ships, and the clouds go after these scenes? The moment those questions crystalize in our minds, the screen fades out and the next scene appears. The only thing that knows where these little stories are going is the horizon that remains on the screen, the stage for all these tiny events. In this way, our attention passes from the details to the horizon, and eventually our imagination takes it beyond the frame. This is because the horizontal line defines the composition in the visuals, while simultaneously dividing the frame between here and there, and suggesting the existence of a more distant world. (M.T.)
Courtesy of the Artist and Taka Ishii Gallery
Born in Saitama Prefecture in 1971. Lives and works in Okinawa Prefecture. Noguchi has been using the media of the photograph as a means to visualize “What is there, but invisible.” Her acute sensibility is seen in her choice of motifs and the uniqueness of her viewpoint, but what is most remarkable is the way she captures the soft light that appears to wrap itself around an object. Recently she has also been working on video art focusing on subjects such as insects and plants.
Major recent solo exhibitions include “At the Bottom of the Sea” (Taka Ishii Gallery, Tokyo, 2017), “To the Night Planet” (Loock Gallery, Berlin, 2016) and “Light Reaching Future” (IZU PHOTO MUSEUM, Shizuoka, 2011–12). Group exhibitions include “Twinkling Skin, Emission of Light by Life and Death” (Ashikaga Museum of Art, Tochigi, 2020), “Overlapping Circle” (Kawamura Memorial DIC Museum, Chiba, 2020), “Reborn-Art Festival 2019” (Miyagi, 2019) and 21st Sydney Biennale “SUPERPOSITION: Art of Equilibrium and Engagement” (Sydney, Australia, 2018).