Aerial #9
digital c-print
100 x 121 cm

Aerial #10
digital c-print
252 x 243 cm

Base Gallery is pleased to present “VOID,” a solo exhibition of works by Sachigusa Yasuda from July 4 to July 30.

Her career started with photograph and drawing along with the extensional experiential installation based on the
viewpoint from underneath of one’s feet bottom. After moving to New York, her practice undertook a major
change with the application of a top-down view. Having created body of new works composed of hundreds of
photographs taken from a high altitude, she has continuously participated in exhibitions at the museums such as
California Museum of Photography, Sezon Museum of Modern Art and The National Art Center, Tokyo to name
a few.

As always, what lies behind in Yasuda’s recent practice is her distinct personal sense and physical remembrance
acquired through the bodily experience of her soles placed on whatever and wherever it is, and it can be said that
the feeling of euphoricness and insecurity brought by those bird’s eye view landscape photographs is one example.
Furthermore, the personal sense goes as far as her own physical absence being realized as she takes photographs.
“VOID,” the box-shaped white spot in her work, seems to indicate not only the swaying sense of Yasuda herself
who tries to identify something but also the truthfulness and falsehood, and it seems to invite and urge viewers to
switch the subject for new experience.

This exhibition marks Yasuda’s third solo exhibition with Base Gallery and will feature a new piece on Fukushima
from the on-going project she has engaged in the past several years since the Great East Japan Earthquake.
What existed there before were complete collapsed due to the earthquake and tsunami, and what we can see now is
the scene of narrowly remaining groundwork for houses. The photograph composed only of those groundworks
stimulates our body and mind from below and slowly extends a sense of insecurity.

This work, in fact still in progress as of this exhibition, has been produced by connecting hundreds of photographs
taken by the artist after the earthquake. As in her past works, she first disjointed those images, this time by rooms
and parts of houses, and then connected them together to make the whole image. This mosaic-like long piece seems
to be a memorial tapestry in a sense. It once again presents our physical remembrances lurking in many of us and happens to reveal them with what’s sealed in each of us. Also being
connected with her skyscraper series of bird’s eye view at a fundamental level, this piece calmly questions the sense
of wriggling being present in ourselves.