The act of photographing becomes the meeting between Kashiwagi and the photographers, where performance rituals and non-verbal communication come into play. The work encapsulates this blurring of boundaries; between performance, cultural identity, portraiture and documentation of an event.
Kashiwagi painterly applies her own version of performative make-up, influenced by both Eastern and Western theatrical traditions. She then meditatively makes an origami object that connects to her state of being whilst the photographers prepare to take the portrait. The camera is a large and cumbersome device, requiring a slow and methodical approach, which in turn becomes an exaggerated performance of photography itself. Thus the rituals of preparation on both sides of the lens become entwined within the resulting images, becoming an illustration of these intercepting tensions.
Haiku focuses on the process of making the photographs and notions of ritual and performance. The photographic meetings are ritualistic and capture a moment that is imbued with both performance rites and serendipitous outcomes. Through the repetitive process and gradually learnt activity, knowledge becomes embodied tacitly, in the meeting between camera and performer.