YÔKAÏNOSHIMA by Charles Fréger
French photographer Charles Fréger is currently exhibiting his latest photographic series titled YÔKAÏNOSHIMA at Ginza Maison Hermès Le Forum in Tokyo. The series is an intriguing glimpse into the fascinating world of Japanese folklore, deities and figures.
Fréger is celebrated for his anthropological approach to photography. His pictures extend far beyond mere portraiture, rather exploring unique cultural characteristics worldwide through traditional costumes. He has devoted himself to the poetic and anthropological representation of a diverse range of social and cultural groups such as athletes, school children, the armed forces, public servants, thespians and more.
Born and raised in central France, Fréger’s connection with the land was developed early, coming from a long line of farmers – his father and great grandfather both farmers. For a time his heritage did not shy away from paving the course of his life, spending time on the family farm, learning the ins and outs of daily farm life. He then ventured to study agriculture in college, but soon after realised he did not want to follow suit. He opted for an education in fine arts, and from there his passion for photography developed, eventually producing his own images in 1997 and later in 1998 with an inaugural portrait series.
His interest in photographing groups evolved over time by working on many projects and eventually was drawn towards cultural groups with visually powerful uniforms. One of his most renowned works, Wilder Mann (2010) portrays the figures of beastly ‘wild men’ who appear in traditional festivals and rituals around Europe. He travelled around 19 countries from England to Denmark, Romania and Austria, to find the men who to this day rekindle a connection to traditions, celebrations and folkloric figures, some of which pre-date Christianity. Fréger calls it “tribal Europe” because these men wear costumes, temporarily yet convincingly transforming themselves into the creatures they select. One such creature is the Krampus, the Austrian antithesis of Santa Claus, among the numerous men who don animal skins to enter this other world. The series culminated in a book that was republished in four languages, and later exhibited at a gallery at Hermès on Madison Avenue in New York City.
Other works like Empire (2004-2007) focuses on hussars (cavalry) appearing in ritualistic roles. Fréger travelled to several European countries over three years to meet 31 regiments resulting in a series that sees portraits of guards from England to Greece, stoic and silent. Bretonnes (2011-2014) presents the women of Brittany in their traditional gowns and headwear. Unlike some of his other series, Bretonnes focuses solely on women.
YÔKAÏNOSHIMA, his latest exhibition, which is proudly showing at Ginza Maison Hermès Le Forum, tells the visual tale of Japan’s Yokai, Japanese folkloric figures, masked deities and demons of Japan emerging from the nation’s fields, mountains, forests, and seacoasts and embody fear and awe. Traveling from north to south, Fréger shot in 58 locations throughout Japan to capture the somewhat eerie essence of this intriguing culture. Architect Jumpei Matsushima has worked with Fréger to create the scenography for the exhibition, which features 100 of Fréger’s works presented to replicate the distinctive landscape of Japan.
Photography serves an aesthetic raison d’être, but also holds a visual storytelling function. While words can take us so far, photography fills the gaps to create a vivid picture, and a deeper understanding of its subject. The work of Charles Fréger tells a story of those who everyday keep forgotten stories alive.
YÔKAÏNOSHIMA is currently on show at Ginza Maison Hermès Le Forum in Tokyo, Japan until Sunday 22 May 2016.
www.charlesfreger.com
www.hermes.com
