Transpacific Borderlands Sneak Peek: Erica Kaminishi’s Prunusplastus

The beginning of the installation of Erica Kaminishi’s Prunusplastus.
Photo by Vicky Murakami-Tsuda.

It’s a big week here at JANM as we prepare to open Transpacific Borderlands: The Art of Japanese Diaspora in Lima, Los Angeles, Mexico City, and São Paulo, a group exhibition that examines the work of 13 artists of Japanese ancestry born, raised, or living in either Latin America or predominantly Latin American neighborhoods of Southern California. The show is part of Pacific Standard Time: LA/LA, a Getty-led initiative exploring Latin American and Latino art in dialogue with Los Angeles.

Shipments of artwork have been arriving from all over the world and artists have started to arrive as well, to supervise the installation of their works and to participate in our festive opening weekend activities. One of the first artists to arrive from abroad was Erica Kaminishi, a Brazilian-born Nikkei who now lives in France. One of her featured artworks, titled Prunusplastus (2017), is a large-scale, site-specific installation made up of hundreds of petri dishes filled with synthetic cherry flower petals. The dishes are strung up with nylon threads so that they form a dramatic cascade of decorative plastic flowers.

Kaminishi’s ambitious concept required the assembly by hand of 3,300 petri dishes filled with 60,000 synthetic flowers. Work on this project actually began weeks ago, right here in Los Angeles, and became a massive group effort among JANM interns, volunteers, and staff members. Leighton Okada, JANM’s summer intern in public programs and media arts, was particularly instrumental in this effort, as he enlisted several of his own family members and provided meticulous quality control over the production process, which required hot gluing the flowers into the petri dishes.

Leighton Okada, right, assembling cherry flower petri dishes with members of his family.
Photo courtesy of Leighton Okada.

Last Friday morning, shortly after arriving in Los Angeles, Kaminishi and project manager Claudia Sobral held a small coffee and pastry event to thank some of the people who volunteered to assist with the project. During an informal Q&A, Kaminishi explained the meaning behind her artwork: “In Japan, the celebration of flowers blooming in the springtime, such as the famous cherry blossoms (sakura), is a major tradition. I wanted to reproduce this atmosphere in a contemporary way, while examining the ways that we appreciate and nurture culture. The work touches on the Japanese concept of mono no aware, which holds that while beauty is very affecting, it is also, like all things, ephemeral. Nothing is eternal.”

One of the volunteers pointed out the irony of putting static plastic flowers in a petri dish, which typically holds living specimens. Kaminishi remarked that while she was doing her PhD studies in Japan, she took classes in biology and chemistry, which influenced her art practice. Indeed, the word Prunusplastus is an alteration of Prunus serrulata, the Latin name for the Japanese cherry flower. The word plastus means “something modeled” in Latin, and the work employs a quasi-scientific framework to isolate the cherry flower as a cultural object/concept in order to contemplate and investigate its nature and origins. Being an artist of mixed cultural background, concepts of shifting identity and blended DNA also figure into Kaminishi’s work.

Erica Kaminishi contemplates the installation of her work, Prunusplastus.
Photo by Vicky Murakami-Tsuda.

Although Kaminishi has been thinking about the concept for Prunusplastus since her time in Japan, this is the first time it’s been realized. In addition to this installation, she also has four drawings from her Clouds series in Transpacific Borderlands.

Transpacific Borderlands opens to the public on Sunday, September 17.

Mike Saijo Workshop Attracts Artists of All Ages

All photos by Ben Furuta.

This past Saturday, May 20, artist Mike Saijo, who is featured in the exhibition Instructions to All Persons: Reflections on Executive Order 9066, led a free art workshop titled Reconstructing Memories. The daylong drop-in workshop, held in conjunction with the exhibition, invited all JANM visitors to explore their connections to history and current events.

Saijo took a photograph of each interested participant, which he then printed onto a section of newspaper that the participant chose out of several available stacks. Guests completed the artwork themselves, with Saijo’s assistance, by mounting the print onto a wood panel with glue.

Visitors of all ages stopped by to participate in this simple yet provocative exercise. Each visitor was able to take home his or her own “self-portrait.”

Mike Saijo, a contemporary mixed-media artist based in Los Angeles, was recently profiled for JANM’s Discover Nikkei project. Read the profile here.

Honoring Sadako Sasaki and Her Paper Cranes

An original crane folded by Sadako Sasaki, now on view at JANM. Photo by Norman Sugimoto.
An original crane folded by Sadako Sasaki, now on view at JANM. Photo by Norman Sugimoto.

On May 29, 2016, JANM received the extraordinary gift of an original paper crane folded by Sadako Sasaki, the young Hiroshima-born girl who died in 1955 of complications resulting from radiation poisoning. Before her death, Sasaki folded over 1,000 paper cranes in hopes of recovering from her illness. Because of her efforts, which touched many people, paper cranes have since become a universal symbol of peace, hope, and recovery. The museum is honored to be the only West Coast recipient of one of Sasaki’s cranes, joining such global institutions as the Hiroshima Peace Memorial Museum, the USS Arizona Memorial at Pearl Harbor, the 9/11 Tribute Center in New York, and the Harry S. Truman Library and Museum in Independence, Missouri.

Highlights of the gifting ceremony can be seen in the below video, produced by JANM’s Frank H. Watase Media Arts Center. The moving event included remarks by Clifton Truman Daniel, grandson of US President Harry S. Truman, and Masahiro Sasaki, brother of Sadako. Not included in the video were a song sung by Yuji Sasaki, Masahiro’s son, in tribute to his aunt; and a clip from Orizuru 2015, a short film inspired by Sadako’s story, introduced by director Miyuki Sohara.

 

This Saturday, August 6, is the 71st anniversary of the atomic bombing of Hiroshima. Be sure to join us at 1 p.m. that day for a special talk by Above the Fold curator Meher McArthur, who will speak about Sadako Sasaki and how her actions influenced the spread of origami practice. The talk, which will take place in JANM’s Tateuchi Democracy Forum, is part of the museum’s Tateuchi Public Programs series. Above the Fold, which looks at contemporary origami practice, is on view through August 21.

Sneak Peek: Above the Fold Installation

There's nothing like opening a new gift. Christina Johnston of International Arts & Artists and JANM's Kelly Gates unpack Robert Lang's Vertical Pond II (2014). All photos by Vicky Murakami-Tsuda unless otherwise noted.
Christina Johnston of International Arts & Artists and JANM’s Kelly Gates unpack Robert Lang’s Vertical Pond II (2014). All photos by Vicky Murakami-Tsuda unless otherwise noted.

 

In just a few short days, JANM will open Above the Fold: New Expressions in Origami, an inventive exhibition in which the traditional Japanese art of origami serves as the inspiration for innovative new sculptures, large-scale installations, and conceptual artworks from around the world. Above the Fold is curated by Meher McArthur and toured by International Arts & Artists, Washington, DC.

Join us for the public opening on Sunday, May 29, or Members Only Preview Day on Saturday, May 28. In the meantime, enjoy the photographs that follow, which capture intrepid JANM and IA&A staff working hard to unfold and install the complex artworks in the show.

Condition reports have to be performed on every incoming piece before it gets installed. Here, Christina and JANM's Maggie Wetherbee inspect works by Yuko Nishimura. Photo: Vicky Murakami.
Condition reports have to be performed on every incoming piece before installation. Here, Christina and JANM’s Maggie Wetherbee inspect works by Yuko Nishimura.
Kelly and Christina making sure the origami carp are in good shape. Photo: Vicky Murakami.
Kelly and Christina making sure the origami koi (carp) are in good shape.
With fish successfully installed, Kelly and Christina move on to other objects. Photo: Vicky Murakami.
With fish successfully installed, the crew moves on to other objects.
Maggie figures out how to assemble a work by Miri Golan. Photo: Vicky Murakami.
Maggie checks the condition of a piece by Miri Golan.
Maggie gets some help with Miri Golan's book piece. Photo: Vicky Murakami.
Christina and Kelly installing Miri Golan’s piece.
Clement Hanami and two assistants inspect Paul Jackson's folded digital prints. Photo: Vicky Murakami.
Clement Hanami and two assistants inspect Paul Jackson’s folded digital prints.
Christina lines up Paul Jackson's prints. Photo: Vicky Murakami.
Christina lines up Paul Jackson’s prints.
One of the many pieces that make up Vincent Floderer's large-scale installation, Unidentified Flying Origami (2002-current). Photo: Vicky Murakami.
One of the many pieces that make up Vincent Floderer’s large-scale installation, Unidentified Flying Origami (2002-current).
The crew prepares to install the most challenging piece, Jiangmei Wu's Ruga Swan (2014). Photo by Vicky Murakami.
The crew prepares to install the most challenging piece,
Jiangmei Wu’s Ruga Swan (2014).
Ruga Swan begins to take shape. Photo by Vicky Murakami.
Ruga Swan begins to take shape.
Exhibition curator Meher McArthur, right, stops by to help out. Photo: Carol Cheh.
Exhibition curator Meher McArthur, right, stops by to check on the installation progress. Photo by Carol Cheh.
Several people have to help hold the sculpture in place while others work to secure it. Photo by Vicky Murakami.
Several people have to help hold the sculpture in place while others work to secure it.

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After much effort, the Ruga Swan finally comes together. Photo by Vicky Murakami.
After much effort, the Ruga Swan finally comes together.
The show is almost ready for the public. See you this weekend!
The show is almost ready for the public. See you this weekend!

Warren Sata Pays Tribute to Japanese American Photographers with Moss on the Mirror

J. T. Sata, Untitled (Portrait), 1928, gelatin silver print. Partial and promised gift of Frank and Marian Sata and Family. Collection of the Japanese American National Museum.
J. T. Sata, Untitled (Portrait), 1928, gelatin
silver print. Partial and promised gift of Frank and Marian Sata and Family. Collection of the Japanese American National Museum.

This Saturday, May 7, at 2 p.m., JANM will present a dramatic reading of Moss on the Mirror, a fictional play inspired by the life and work of renowned photographer Toyo Miyatake. Taking place in Los Angeles’ Little Tokyo district in the late 1920s and early 1930s, where Miyatake’s practice flourished before World War II, the play examines the creativity, hope, and optimism, as well as the struggles and challenges, of the Japanese immigrant photographers community.

Although not a literal retelling of actual events, the piece seeks to transport audiences to the feelings and circumstances of those times. Moss on the Mirror was written by Warren Sata, whose paternal grandfather was J.T. Sata (1896–1975), a featured photographer (along with Miyatake) in the current exhibition Making Waves: Japanese American Photography, 1920–1940. To learn more about the play, we conducted a brief interview with Sata via email.

JANM: What does the title Moss on the Mirror refer to?

Warren Sata: The title refers to the notion that we understand ourselves and our communities through reflection, or looking in the mirror. The moss evokes a clouded mirror, alluding to the influence of outside circumstances like poverty and racism.

JANM: What inspired you to write this play?

WS: The story of Los Angeles’ Issei photographers has fascinated me and inspired my imagination since I learned about them from my father some years ago. A conversation with actor/director Chris Tashima, who serves as the play’s director, helped me to recognize the importance of Toyo Miyatake’s journey toward becoming a pillar of the community. I began to understand the value of artistry and responsibility in a different way, which led me to take an interest in sketching the story of Japanese Americans photographers and their interests and practices prior to the WWII incarceration.

J. T. Sata, Untitled (Ice Cream Cones), 1930, gelatin silver print. Partial and promised gift of Frank and Marian Sata and Family. Collection of the Japanese American National Museum.
J. T. Sata, Untitled (Ice Cream Cones), 1930, gelatin silver print.
Partial and promised gift of Frank and Marian Sata and Family.
Collection of the Japanese American National Museum.

 

JANM: What is your favorite image by a Japanese American photographer, and why?

WS: I am drawn to an abstract self-portrait created by my grandfather, J.T. Sata, which is currently on display in Making Waves. It utilizes triangles and a photographic image of his face. The interplay between a realistic portrait and an abstract prepared background fascinates me; it seems to suggest a doorway between the real world and subjective experience. This allows for a dialogue between these worlds and gives value to the notion of participating in both. I enjoy this because it pushes me to understand the Issei experience and what that might have felt like.

JANM: What do you hope audiences will get out of the dramatic reading?

WS: I hope that audience members will be motivated to honor the contributions of the Issei photographic pioneers, but also to consider what their experiences were like in the 1920s and ’30s—their creativity, their principles, their aesthetics, and the culture and context of the times.

Moss on the Mirror is free with museum admission, but RSVPs are recommended.

The Magical Worlds of Sean Chao

Sean Chao. Photo courtesy of the artist.
Sean Chao. Photo courtesy of the artist.

 

Originally from Taipei, Taiwan, artist Sean Chao graduated from Art Center College of Design in 2007 and now makes his home in Los Angeles. In 2012, Chao was featured in JANM’s Giant Robot Biennale 3 exhibition. He is known for creating intricate miniature dioramas using polymer clay, basswood, and paper, with nature as a recurring theme; he often depicts dense forests or vast oceans filled with plants and wildlife.

This Saturday, January 16, Chao will be leading a workshop at JANM titled Water Memory. Participants will learn to create their own sculptural underwater scenes using polymer clay, acrylic paint, and paper. In advance of this workshop, Chao graciously agreed to answer a few questions via email regarding his process and his influences.

JANM: How did you become interested in making dioramas?

Sean Chao: Growing up, I was very intrigued and fascinated by the dioramas at various natural history museums I visited, both in Taiwan and here in the States. It amazed me, the many details that were put into the dioramas to recreate natural scenes. It’s a different dimension—frozen in time and locked in a clear display case. One day I just decided to create my own dioramas, filled with worlds that I create.

Sean Chao, Big Cat, 2015, bass wood, polymer clay, acrylic, and gouache paint on wood panel. Photo courtesy of the artist.
Sean Chao, Big Cat, 2015, basswood, polymer clay, acrylic, and gouache
paint on wood panel. Photo courtesy of the artist.

 

JANM: Tell us about some of the inspirations that drive your work. Monkeys and country peasants seem to make frequent appearances.

SC: I grew up in Taiwan and my culture influenced my work tremendously. I grew up in the city, but I was always fascinated by the simplicity of peasant life in the country—so much closer to nature and so far away from the crowd.

My dioramas are fantasy worlds that I create. Anthropomorphic characters are very charming. They have their own personalities in my world, inspired by the people and animals around me. My brother was born in the Year of the Monkey and he is one of my best friends. My monkey character is based on his personality: smart and adventurous.

Sean Chao, Persimmon Picnic, 2015, bass wood, polymer clay, acrylic, and gouache paint on wood panel. Photo courtesy of the artist.
Sean Chao, Persimmon Picnic, 2015, basswood, polymer clay, acrylic,
and gouache paint on wood panel. Photo courtesy of the artist.

 

JANM: You also have an interesting “creatures within creatures” theme going on, where robots are controlled from the inside by animals. Could you tell us more about this theme?

SC: Human beings create computers, robots, and artificial intelligence based on the likeness of ourselves. It’s in our nature to create. I simply created my own version of the robot. It’s based on an ideal human personality and controlled by characters that were inspired by my family and friends.

JANM: Who are some of your own favorite artists?

SC: Beatrix Potter—she was an illustrator, natural scientist, and conservationist, and one of my favorite children’s book illustrators. Hayao Miyazaki—I grew up watching his animations. The stories are very touching for both children and adults, and the way he captures the personality of each character is just fascinating. There is definitely more to learn from him for my own work.

Learn to make a piece like this in this weekend's Water Memory workshop. Sean Chao, Skull Koi 2, 2015, bass wood, polymer clay, acrylic, and gouache paint on wood panel. Photo courtesy of the artist.
Learn to make a piece like this in this weekend’s Water Memory workshop.
Sean Chao, Skull Koi 2, 2015, basswood, polymer clay, acrylic, and gouache paint
on wood panel. Photo courtesy of the artist.

 

JANM: What are you most excited about for your upcoming Water Memory workshop?

SC: Meeting people who share the same interest in sculpture and diorama, and of course I’m very excited to show them my techniques. It will be a real fun event.

Space is still available for Chao’s workshop. To register, click here.

Katsuya Terada Returns This Month to Complete His Live Drawing

Katsuya Terada at work in the JANM galleries. Photo by Carol Cheh.
Katsuya Terada at work in the JANM galleries. Photo by Carol Cheh.

 

Giant Robot Biennale 4 is a highly interactive show, with several features that invite viewer engagement on a more active level than usual. One of these features is the live, on-site creation of a major new work by Katsuya Terada.

Starting shortly before the exhibition opened in October, Terada spent several days working inside of a roped-off area in JANM’s lower-level galleries to create a new, two-part drawing from scratch. Visitors were able to watch him as he worked. The artist had to leave town before he could finish, but he plans to return later this month (after the 19th) to complete the piece in the gallery.

Katsuya Terada. Photo by Carol Cheh.
Katsuya Terada.
Photo by Carol Cheh.

The live drawing idea came from Eric Nakamura, curator of the show and founder of the Giant Robot empire. “Museums are typically filled with static objects,” he noted. “I wanted to present an interactive experience, where people could ask questions, and see what artists are like in person. It’s not everywhere that you can do this.” Nakamura gave Teraya no time limits, wanting him to produce a finished work that is suitable for framing.

So far the work is looking exquisitely finished right out of the gate. It does not yet have a title, but it does have a theme: masks. “I thought it would be interesting to draw a mask wearing a mask,” the artist says. Terada, who speaks very little English, spoke to me shortly before he left with the help of his friend and fellow exhibiting artist Yoskay Yamamoto, who served as translator.

I asked Terada to explain his process, which is organic rather than planned. “If I draw one line, that will tell me how to draw the next line,” he replied. “However, when I see the entire surface, and I start drawing one image, that will usually be the starting point, and from there I’m just trying to fill up the page without making mistakes—in composition, in choice of items to draw. I’m just making sure everything fits in the right way.”

Katsuya Terada. Photo by Carol Cheh.
Katsuya Terada. Photo by Carol Cheh.

 

Personally, I would find that process stressful. I asked him how he felt about that, and about having people watch him while he draws.

“It is stressful! But it’s like I’m challenging myself by being in that position,” Terada replied. “Having an audience can be a positive thing—it means that I have to work hard and I can’t slack off. But drawing itself is just enjoyable to me, with or without an audience.”

Terada will be back at JANM sometime after December 19th to complete his drawing. Keep your eyes on JANM’s Twitter feed and Facebook page to see when he’s in the gallery. Until then, you can come to the museum to view his progress to date.

Katsuya Terada's unfinished drawing, as he left it in October. The artist will return to JANM this month to complete the work. Photo by Carol Cheh.
Katsuya Terada’s unfinished drawing, as he left it in October. The artist will return to
JANM later this month to complete the work. Photo by Carol Cheh.

A Chat with GRB4 Artist Yoskay Yamamoto

Yoskay Yamamoto in front of his artwork, Wish You Were Here.
Yoskay Yamamoto in front of his artwork, Wish You Were Here.

 

Giant Robot Biennale 4 is filled with outstanding artworks. One of the most attention-grabbing is perhaps Yoskay Yamamoto’s Wish You Were Here, a complex, wall-mounted installation composed of numerous small paintings, photo-transfer panels, hand-carved wooden sculptures, and hanging objects. Displayed near the back of JANM’s upper-level galleries, Wish You Were Here stuns viewers with its exuberant presence.

Shortly before GRB4 opened, Yamamoto graciously answered a few questions about this work and the others he has in the show.

JANM: Did you custom-make Wish You Were Here for this exhibition?

Yoskay Yamamoto: Yes. This is a type of installation that I’ve been working on since 2012; I think that was the first time I did something with the panels and suspended sculptures together as one piece. From there, I gradually added more panels, and repainted more, adding different color palates and textures. The latest additions are the sunset hues and scenery, painted to fit into this particular kind of color palette.

Yoskay Yamamoto's Wish You Were Here.
Yoskay Yamamoto’s Wish You Were Here.

 

JANM: What were the inspirations behind this piece?

YY: The sunset is one of the main visual elements in the 100 panels I brought here. Ever since I started living in Los Angeles, I’ve been fascinated by how beautiful the sunset is in the city. At the same time, I’ve heard it’s due to the smog we have. I find this ironic. If I’m outside at the right time, I try to photograph the sunsets I see. Then I use a lot of them as reference.

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JANM: So you were born in Japan?

YY: Yes, in this small seaside town called Toba, which has a population of about 22,000. It’s decreasing every year because the younger generation ends up leaving to go to bigger cities.

Yoskay Yamamoto's California Dreamin' and Keep On Shining
Yoskay Yamamoto’s California Dreamin’ and Keep On Shining.

 

JANM: What brought you to California?

YY: Toba is a sister city to Santa Barbara, so I went to high school there and then studied graphic design at the community college. To pursue my art, I moved to San Francisco for about a year. Then, ironically, I got assigned to a gallery in LA. So I packed up my stuff and moved down here.

Yoskay Yamamoto's Cosmic Boy.
Yoskay Yamamoto’s Cosmic Boy.
JANM: Can you tell us about the other three pieces you have in the show?

YY: The smaller wall installation is called Cosmic Boy. I bought a bootleg Astro Boy figure from Hong Kong on eBay, and I just took the head off and re-sculpted it. Then I had my friend fabricate 25 of them for me.

I also have two paintings here called Keep on Shining and California Dreamin’. These are both based on the old Americana signage that I see around LA. I think this is something that’s dying in culture—I don’t think anybody is making these signs any more. I like seeing the craftsmanship in them—there’s something special and magical about it. I try to pick some titles or combinations of words that I like, to give a positive message to them.

Giant Robot Biennale 4 is on view at JANM through January 24, 2016.

Minha Park Searches for “Elusive Snow”

First & Central’s celebration of Asian Pacific American Heritage Month concludes with this post. It has been a pleasure to spotlight diverse, Los Angeles–based, Asian-American artists who deal with themes of history, language, and identity in their work. We hope you’ve enjoyed this series as much as we have.

Minha Park, A Story of Elusive Snow (2013), still from HD video
Minha Park, A Story of Elusive Snow (2013), still from HD video

 

Born in Seoul, South Korea, artist and filmmaker Minha Park moved to Los Angeles to attend graduate school at California Institute of the Arts (CalArts). She now divides her time between L.A. and Seoul.

In A Story of Elusive Snow (2013), completed the year she graduated from CalArts, Park explores her new life in L.A. and her longing for South Korea, or what she calls her “motherland.” She particularly misses the phenomenon of snow, which she refers to as if it were a friend—“Not her voice, or her image. I miss her physical presence.” She finds however that L.A., being the land of special effects magic and wish fulfillment, offers many unique opportunities for conjuring an experience of snow.

A Story Of Elusive Snow ( 2013 ) 9min excerpts from Minha Park on Vimeo.

This delightful video work tracks Park’s wistful journey to find snow, incorporating vintage Hollywood movie scenes and well-known L.A. landmarks along the way. In addition to evoking longing, nostalgia, and playfulness, A Story of Elusive Snow also expresses Park’s feeling of being a stranger in Southern California—a feeling symbolized by the incongruence of snow on Hollywood Boulevard.

The video ends with manufactured snow overflowing from a Hollywood souvenir mug, a moment that is both joyful and absurd. In the artist’s own words, “Could [the protagonist] ever get her snow? In the last scene, the souvenir cup with the Hollywood logo can’t contain the snow that she made. Her personal longing for snow thus collides with a fundamental human desire for elusive magic and illusion.”

Terry Chatkupt Revisits His Parents’ Past

First & Central’s celebration of Asian Pacific American Heritage Month continues, as we spotlight diverse, Los Angeles–based Asian-American artists who deal with themes of history, language, and identity in their work.

Terry Chatkupt, Post, 2011, HD digital video.
Terry Chatkupt, still from Post, 2011, HD digital video.

 

Thai-American artist Terry Chatkupt makes highly visual and evocative video works, often reveling in landscapes and their effects on individual psyches. Abstract pieces like Wayfinding and Post traverse iconic sites like the Los Angeles River and Southern California’s freeway interchanges, setting them into motion like extended dreams. Videos with narratives like Haunt, Lost and Found, and Transferase are also firmly embedded into specific landscapes, whose mysterious qualities help the artist tell psychologically loaded stories.

Early in his career, Chatkupt made several works that explored his family’s immigrant history. Among these is the short 2007 video Untitled (Conversation), featured below. In it, a slideshow of vintage photographs taken by his parents shortly after they immigrated to the Midwestern United States is accompanied by a recorded telephone conversation between Chatkupt and his father. Chatkupt asks his father about the Vietnam War and how it informed their decision to settle in Missouri in the early 1970s.

Untitled (Conversation) from Terry Chatkupt on Vimeo.

The images we see are of a young Thai couple and their child, adrift in a new environment that is no doubt markedly different from their native country. Chatkupt’s mother is often seen standing alone in the midst of a stark plain or plaza, dressed in the styles of another era. Meanwhile, his father’s description of the spotty nature of government communications regarding the war heightens the sense of displacement evoked by the photographs. The anxiety of the historical events that he talks about adds a certain tension to the anticipatory faces of the young couple, even as they attend eagerly to their new baby and their new lives.

Explore more of Chatkupt’s work—which also includes photography, installation, and public projects—on his website or on his Vimeo page.