Masahisa Fukase's project Family, created primarily between 1971 and 1989 in his hometown of Bifuka, Hokkaido, explores intricate familial relationships, personal identity, and the relentless passage of time. At this point in his career, Fukase had already established himself within Japan's evolving photographic scene, known for his introspective and subjective approach, contrasting with traditional photographic norms.
Fukase, whose family had run a commercial photography studio in Bifuka, returned to his roots, simultaneously engaging with and disrupting conventional family portraiture traditions. Central to his artistic vision is the contemplation of memory, mortality, and the ephemeral nature of familial bonds. His portraits document his family members across nearly two decades, providing a narrative of life's cycles—growth, aging, loss—and the eventual dissolution following his father's death.
Aesthetically, the project employs the disciplined yet theatrical staging characteristic of studio portraiture. Fukase utilized a large-format Anthony view camera, which lent precision and heightened detail to each composition. His images consistently portray family members in traditional settings, juxtaposed with unconventional elements—nudity, unusual poses, humorous scenarios, and third-party models. The controlled, artificial lighting accentuates this duality, creating portraits simultaneously earnest, ironic, and provocative.
Published as the photobook Kazoku (Family) by IPC in 1991 (reissued by MACK in 2019), the series has been shown in major museum contexts, including Masahisa Fukase 1961–1991 at Tokyo Photographic Art Museum (2023) and Family Album: Changing Perspective of Family Portrait at the Tokyo Metropolitan Museum of Photography (1992), securing its place as a central chapter in Fukase’s oeuvre.
