Spirits in Transition: Leiko Ikemura on Femininity, Nature, and Cross-Cultural Reflections

Amid the vibrancy of Frieze London earlier this month, Leiko Ikemura‘s work at Lisson Gallery‘s booth offered a serene, introspective contrast. The Japanese-Swiss artist, based in Berlin, has spent decades exploring themes of femininity, spirituality, and the interconnectedness of nature and humanity. Deeply influenced by Japanese Shintoism and Western artistic traditions, her work creates a unique dialogue between cultures, focusing on transitions, identity, and collective responsibility. In works like Usagi Kannon Pray (168), Ikemura evokes resilience and renewal, embodying her reverence for the spiritual world and her desire to bridge personal and universal experiences through art.

Whitewall spoke with Ikemura during Frieze London. We delved into the profound spiritual elements that underpin her artistic practice, discussing how she masterfully weaves traditional Japanese influences with contemporary artistic expressions. Ikemura also spoke about her ongoing exploration of the feminine form, and how her cross-cultural experiences have shaped her understanding of identity and transformation. Through our conversation, she reflected on the complex relationships between art, identity, and nature in today’s interconnected world.

WHITEWALL: Your work often draws from Japanese Shintoism and its reverence for nature and spirits. How do you approach integrating these deeply spiritual and cultural elements into your contemporary art practice, particularly in pieces like Usagi Kannon Pray (168) and your new presentations at Frieze?

LEIKO IKEMURA: This is such a beautiful question, and it makes me feel understood because this element—the connection with spirituality and nature—is something I often miss in the contemporary art world. For me, one of the most important aspects of art is the spiritual dimension, though not in a religious sense. This is something I have followed for years and years. It’s not about style or clever marketing; it’s much deeper than that.

In works like Usagi Kannon and my new pieces at Frieze, you see different expressions, but they are all connected. I think of it as a kind of metaphor. When I was preparing for this exhibition, I thought: at such a busy art fair, how can I create something that invites people to become one with the art? I focused on the concept of floating and transformation, which I see as central to the experience of being in touch with something spiritual. It’s about creating a moment of stillness and reflection in the midst of all the noise.

“For me, one of the most important aspects of art is the spiritual dimension,”

 Leiko Ikemura

Focusing on the Complexities of the Female Condition

WW: You’ve explored the female form in various states of transformation, addressing themes of girlhood, maturity, and wisdom, as seen in works like Double Figure and Girl Standing in Yellow. What motivates your focus on the evolution of femininity, and how does this narrative shape the emotional and visual tone of your work?

LI: My works are very aware of the social structures and the human condition. My focus is not just on femininity, but on the complexities of the female condition within society, which is why I often center my work on one gender. I am drawn to depicting transitions—whether they be transitions of form, identity, or existence. For example, in works like Double Figure and Girl Standing in Yellow, I explore figures in a state of becoming, where vulnerability and ambiguity coexist. This phase, particularly with young girls, represents a fragile but powerful space between innocence and the social imposition of identity. It’s not just about the individual experience or a national one; it speaks to something global.

When I use materials like natural pigments and clay, there’s an intentional connection to nature, to the earth. These materials anchor my work, keeping it grounded in something elemental. This connection is important to me as it reflects a desire to stay rooted in what is authentic and unprocessed, avoiding industrial or overly polished materials. I want to evoke emotion without sentimentality, offering a space for reflection on both contemporary life and ancient, more primal experiences. My art aims to bridge contemporary consciousness with a more timeless, subconscious understanding. It’s about connecting us all to something deeper within ourselves, something universally human.

“I want to evoke emotion without sentimentality, offering a space for reflection on both contemporary life and ancient, more primal experiences,”

 Leiko Ikemura

Deeply Engaging with a Cross-Cultural Journey

WW: As someone who has lived and worked across different cultures and continents, from Japan to Europe, how does this cross-cultural experience influence your artistic exploration of identity, transition, and collective responsibility, particularly in the context of the works you are presenting at Frieze London 2024?

LI: From the very beginning, London has always felt like a global, cosmopolitan city to me, welcoming diverse cultures and perspectives. I come from an island in Japan, which historically has been more insular, and that contrast has shaped how I connect with places like England. I feel a strong connection to London, but it’s different from the connection I have to my home. Living in a foreign country has allowed me to experience new ways of thinking and diverse aesthetic sensibilities, not just as a visitor, but as someone deeply engaged with the culture.

However, living as a foreigner is difficult. It’s tough to hold on to my origins while also connecting with the wider world. This is one of the challenges we face through cultural learning. Sometimes, I’ve had to let go of certain identity issues. While identity is important, there’s always another challenge on the other side. It’s always about finding a balance between these two poles.