The encounter with INUI Hisako was almost an accident. And before long I noticed that the accident was a fascinating gift for me.

In Meerbusch neighboring Dusseldolf there is a gallery Konrad Moenter, that I many times troubled to have exhibitions.
One day Mr. Moenter called me saying on the phone, "Fukushima, your colleague will come from Japan. Please be sure to come to the opening ceremony. I'll be waiting for you!" I hardly join opening ceremonies, yet that day I felt like going there.
When I arrived at the gallery, there had already gathered a large audience.
Even beyond the big back of a German, I sensed an aura that was quiet but expressing its strong core from her work. "Lines" that she drew extend their tentacles to my sensitivity.

As I was leaving I invited her to my house that was near to the gallery. Given her willing consent, then we had a few pleasant days. In those days a plan developed that we will do something. Having left Japan to become a stranger by then, I had not gone back to homeland in order to exhibit my works. I had only uncertain and fragile strings as vertical and horizontal ties so that I was quite unfamiliar to the present state of Japan. She undertook the challenge to play a role as a companion of such a total stranger, sharing pleasure. I really appreciate it.

Early this year, our unit name was decided Flugsamen=flying seeds. For we consider our works are something like seeds. They might be minute particles but possess the possibilities to reach unexpected "places" and sprout up. INUI Hisako not only plays active part in Japan but intends to continue exhibit in Germany as well. In other words, her works and she herself are seeds flying between Japan and Germany. I, too, would like to carry seeds from Germany to Japan. The name Flugsamen=flying seeds represents us behaving like that.

This time we tried to start "photo dialogue" as a cooperate work. Our photographs are poor snap shots as we're not professionals. Yet our purpose is not to exhibit photos as "photos." They are "dialogue" works that we scoop up some scenes or things found in daily lives and exchange each other via internet, occasionally replying with some words that hit my/her mind. We plan to continue this work. I think that what coming into view, or the outline, through continuing this interactive work, will gradually appear. Though the "dialogue" has just started an immature start, I thought it important now to dare to exhibit as the first step.

Where and how will the seeds we are sowing sprout out?

That is our hope.

FUKUSHIMA Setsuko