Through her visual idioms of “straight photos”, “collage-photos” and “filmic expressions”, Fujiwara purports to capture the ephemerality of physical beings and phenomenon in order to visualise fragments of her own memories.
However, it was not until 1999, when Fujiwara was hospitalised, that she began art-making to materialise her own creative visions.
There, she shot a countless number of scenes inside the hospital with a view to capturing the ordinariness of extraordinary times experienced by individual patients.
The colour-photocopied works produced were subsequently exhibited across the hospital’s 20-metre corridor, catching the attentive eyes of galleriests.
She recollects her childhood as being surrounded by her grandfather’s vast collections of classical Japanese paintings and drawings alike from the Kano School of Momoyama to Edo periods, which have undoubtedly been one of the pivotal reference points of her artistic career.
Upon work acquisition by Kiyosato Photo Art Museum, Sarah FUJIWARA shifted gradually
from the realm of commercial photography to that of contemporary art where she now strives to explore the infinite possibilities of human expressions.
The works, regardless of medium, seem somewhat self-explanatory in that they act upon the very subconscious of individual spectators who tend to discover some missing links to “self”, embedded within their partial memories.
While Fujiwara has shown extensively throughout Japan, she has also been active on an international scale, exhibiting solo overseas as well as participating in a numerous number of international art fairs.