Fresh sneakers

Does the photography show a true copy of the reality? In the era of the image, some talk about dictatorship, the eye accepts, as exact reproductions of life, the representations that are offered continuously by those images. But, in fact, there is a much more codified language than it seems to and, no matter how much the process is embraced, the observer has to decode. With the photography we reduce the reality to two dimensions, restricted, at the same time, to a particular frame that excludes all the rest, while the time is stopped, the colours and the perspective are altered. By translating all this, do we always see what we want to see? This is the game, or the challenge, that proposes the Japanese photographer Michiko Kon in her work Cuttlefish and sneaker 1990. The sneaker is not made of clothing, but of fish; the shoelaces are squid tentacles. The artist has put the skin of the fish over the structure of a mid-sneaker, – legendary Converse? – her purpose is to make the photograph a fundamental part in the object meaning. The fact that our experience with fresh fish comes through the touch and smell senses, provides the author of another option to cause and expand her artistic discourse since the photography impose another restriction, it is an exclusively visual experience. The author says: “I want to express and keep the sensibility using all the body senses, such as taste, touch, hearing, eyesight and smell”.

By the way, a picture like this, with such a creative intention, would demand an object full of expressivity and with special iconic strength; we cannot be in more agreement with the choice made.