The japanese artist Yuki Onodera began her creative work in 1984 as a fashion designer. Before long, she began to attempt works of art, and experimented by photographing her own objects, eventually moving beyond the studio to shoot pictures outdoors. Onodera treats photographic vision as something that comes into focus through the pursuit of the subject. Onodera's work carries us to a place that invalidates the very articulation of the subject/object dualism. To photograph an object one has made with one's own hands - a composite "photo-work"- is no less than an act of double production. If, for example, what the artist wishes to present is the object itself, there should from the outset be no need to convert the work to a photograph. Onodera herself once expressed this sentiment when spending an inordinate amount of time to create an object for the production of a single photo: "When you come this far", she commented, "you begin to wonder whether you should just display the object itself". Despite such feelings, Onodera's photography is rooted in an inexorable drive to make photos rather than objects. This powerful drive has played a key role in her development as a photographer. To the basic promise of photography - the fixing of an optical phenomenon on a two-dimensional surface - Yuki Onodera adds a new understanding, demonstrating the possibilities of expression in black-and-white photography. This understanding is unfailingly accompanied by a quality that can only be described "oneiric" or dream-like. With her brilliant creativity, Onodera fosters an understanding of the characteristics of photography as medium, while guiding the viewer to an encounter with a poetic imagination.