おのでら ゆき
Yuki Onodera
| Institution | Faculty | Department | Degree | Period | Country |
|---|---|---|---|---|---|
| Kuwasawa Design Institute | — | — | — | — | Japan |
| Year | Award | Work | Category | Organization | Result |
|---|---|---|---|---|---|
| 1992 | 1st Canon Photo New Century — Excellence Award | — | — | Canon | Winner |
| 1996 | 21st Photography Critics' Award — KODAK Jury Special Prize | — | — | Photography Critics' Award | Winner |
| 2001 | 17th Higashikawa Prize — New Photographer Award | — | — | Higashikawa Prize | Winner |
| 2002 | Japan Photographic Society Newcomer Award | — | — | Japan Photographic Society | Winner |
| 2003 | 28th Kimura Ihei Photography Award | Camera Chimera | — | Kimura Ihei Photography Award | Winner |
| 2006 | Nicéphore Niépce Prize | — | — | Nicéphore Niépce Prize | Winner |
| 2011 | Art Encouragement Prize (Minister of MEXT) — for the exhibition 'Yuki Onodera: Into the Labyrinth of Photography' | Yuki Onodera: Into the Labyrinth of Photography | — | Ministry of Education, Culture, Sports, Science and Technology (Art Encouragement Prize) | Winner |
| 2011 | 27th Higashikawa Prize — Domestic Photographer Award | — | — | Higashikawa Prize | Winner |
A photobook compiling works made with box cameras and experimental techniques, exploring visual illusion and layered imagery.
A series of crowd photographs taken by placing marbles inside a box camera; uses chance and visual interference to question boundaries between the individual and the crowd.
A series photographing vintage clothes against the sky; creates portrait-like images without people that evoke time and memory.
A series photographing two towns of the same name in Sweden and Spain using the left and right lenses of a stereo camera; addresses overlapping place-names and shifts in vision.
Since the 1990s she has developed a distinctive visual language, receiving high acclaim in Japan and abroad; she has won multiple major photography awards and achieved international recognition.