Hester

One could easily establish quite a precise typology by looking at the images collected and placed in HESTER by Kumi Oguro (the word ?image? is used on purpose here, instead of photography or photographic work). Here, we can see ? and this list is not exhaustive ? female figures, parts of bodies, closed-off interiors that are often empty, abandoned or run-down, spaces, floors and wide-open ceilings, plays on natural or artificial light, the presence of mirrors that are concealed to varying degrees, trivial accessories such as fabrics, curtains, clothes, woollen threads, cotton, chairs and armchairs that have become worn with use, small figurines, marbles or festive confetti, primary colours and other shades that are, frankly, lacklustre. But, proceeding in this manner, would we knowingly enter this world, of which Kumi Oguro shows us carefully designed and selected sections? A world ? a story ? that is equally about what she wants to reveal, but which she does not describe to us, and what we are encouraged to discover on our own.