IN CONVERSATION WITH - Madoka Okuda in FIGURES Photography Magazine

I’ve come to realize that my artistic and personal inspiration often emerges particularly when I am on the verge of resolving emotional turmoil.

Artist : Madoka Okuda

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Kiko: A great part of your work focuses on self portraits. There are underlying themes of introspection, intimacy, the self/identity, set in the interior/domestic. Can you elaborate on why this is and what you try to explore in your images?

Madoka Okuda: For the past four years, I’ve been on a journey of self-exploration, driven by a desire to understand who I am and develop an intimate relationship with myself. This path was forged by the echoes of separations, grief and loneliness. It all began with crafting handmade lingerie- a personal expression which eventually led me to a more profound interest in photography, particularly self-portraiture.

We often photograph what is immediately available to us, what fascinates us, where we have access. In my case, these elements, coupled with my longing for self- discovery and connection, laid the foundation for my work in self-portraiture. For me, the self-portrait has become a form of reparenting. A practice of nurturing myself with the same care, attention, and emotional attunement that are essential in the healthy upbringing of a human being. Through this process, I offer myself the connection I seek, and in turn, I experience a profound sense of healing and self-recognition.

K: What moves you to create, and where do you find inspiration?

MO: I’ve come to realize that my artistic and personal inspiration often emerges particularly when I am on the verge of resolving emotional turmoil. It is in these “liminal spaces”, those fragile, in-between moments when the warmth of life gently begins to seep back in, that I feel most creatively alive. The desire for connection, the longing to be seen, the awareness of life’s inherent fragility and beauty, and the complex dance between yearning and desire all fuel my artistic drive.

Another inspiration comes from the lives and minds of remarkable female artists such as Anaïs Nin, Georgia O’Keeffe, and Simone de Beauvoir. Their journals and love letters reveal the intricate intersection of their identities as both women and artists where strength is woven with vulnerability, and honesty with unapologetic self- expression. I admire their courage and their ability to embrace both their complexities and creative freedom. I strive to embody those qualities in my own life and work.

K: There is an inherent softness, either transmitted by light or by the scenes/compositions/themes. Do you associate it with femininity or just with yourself? Do you consider your work as portraying the female body and femininity or just your body, yourself as a person?

MO: I never set out with the conscious intention of making my pictures appear soft or feminine, whether they are self-portraits or portraits of others. It is only recently, through my photography and the feedback from viewers and those who know me personally, that I’ve become aware of how deeply feminine I am both in my outward expression and in my inner world. The way people perceive me, and how they interpret my work, has allowed me to appreciate and embrace parts of myself that I had not fully recognized before.

As I become more at ease with my femininity and sensuality, I sense these qualities naturally surfacing in my work. When it comes to self-portraiture, I create for myself first and foremost. It’s never about making a statement on femininity, body image, or female empowerment. It is simply an authentic expression of who I am. If others find meaning or inspiration in my work, I am deeply humbled and grateful! but that, for me, is never the primary aim.

K: Do the self-portraits come naturally in your practice? Where do they fit in your body of work? Are they easy or difficult to create, in terms of artistic and personal struggle?

MO: Self-portraiture has always been the foundation of my photography practice, making it a natural and integral part of my creative process. In many ways, I consider every image I create to be a form of self-portraiture, whether the subject is a person, a landscape, or even food. Each choice I make- be it light, composition, mood, or the elements that captivate me- emerges from my subconscious, shaped by my personal experiences. I believe we inevitably project aspects of ourselves onto the subjects we photograph.

However, photographing myself becomes particularly challenging when I am in the midst of an emotional crisis. In order to be in front of the camera, I need to have had the chance to process my feelings to some extent. At other times, though, I don’t struggle with it. Whether expressing myself artistically or personally, I tap into the images, memories and emotions stored within me, drawing them out and recreating them in my work.