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Kintsugi
Kintsugi
Irlanda Orrostieta
December 16, 2025
Kintsugi is the Japanese art of repairing broken objects with gold lacquer – in contrast to this concept, the missing fragments of the leaves in Irlanda Orrostieta’s images remain lost. Her series convinces us that the loss of a loved one is irreplaceable; and that photography is able to convey things that can not be expressed in words.
LFI: In addition to the technique itself, kintsugi also refers to the beauty of fragility. What is it that fascinates you about it?
Irlanda Orrostieta: The concept of fragility reminds me of the possibility of breakage. We all break at some point, and we can’t avoid it. In kintsugi, the breaks in ceramics acquire value through a repair process using tree resin and gold dust. The physical beauty of gold is inevitable, I would say in any object, but the main beauty is the story that is reconstructed when something fragile breaks, you repair it, and it makes you accept the events and become stronger.
Why did you choose leaves for the project?
My father passed away in 2021. Although death is not announced, I felt his passing as a surprise, as he had a strong desire to live. Sometimes in my life, I fearfully thought, "What will it feel like the day someone close to me dies?" Today I can say that what moves me most is knowing I’ll never see him again. In fact, I don’t want to see any portrait of him, because it’s not enough for me. So I found in the leaves the best way to pay tribute to my father, because a leaf is simple and important at the same time, so simple that its importance goes unnoticed. This was often the case with my dad.
What challenges do you face when taking photographs of leaves?
Beyond their simplicity and importance, leaves have a particular fragility. The process begins with the collection. I carry a box so they don’t break. I only collect a few so they don’t damage each other and to respect the natural shape when I find them. Last year I was able to visit Leitz Park, and it was important for me to collect leaves from that special place. In that case, I brought them back between the pages of a notebook, which kept them flat. The next step is to repair some of them, and that requires very special care in their handling before completing the photographic capture.
How did the camera work for your still lifes?
Once I’ve prepared the leaves, I ready my set, which consists of a solid black base, and I place the leaves with great care. I use natural light, photograph under a dome, use a tripod, and take care to use the lens in telephoto and ISO 100. Thanks to the optical quality and multi-shot function of the Leica SL2 system, I was able to meticulously capture the vegetal subtlety of the leaves to give a sense of monumentality to these fragile and often unnoticed objects. Multi-shot also allows me to have files that can be printed in large format.
I really enjoy the process because while life is hectic, I "stop" time by doing everything carefully and calmly.
Katja HübnerLFI: In addition to the technique itself, kintsugi also refers to the beauty of fragility. What is it that fascinates you about it?
Irlanda Orrostieta: The concept of fragility reminds me of the possibility of breakage. We all break at some point, and we can’t avoid it. In kintsugi, the breaks in ceramics acquire value through a repair process using tree resin and gold dust. The physical beauty of gold is inevitable, I would say in any object, but the main beauty is the story that is reconstructed when something fragile breaks, you repair it, and it makes you accept the events and become stronger.
Why did you choose leaves for the project?
My father passed away in 2021. Although death is not announced, I felt his passing as a surprise, as he had a strong desire to live. Sometimes in my life, I fearfully thought, "What will it feel like the day someone close to me dies?" Today I can say that what moves me most is knowing I’ll never see him again. In fact, I don’t want to see any portrait of him, because it’s not enough for me. So I found in the leaves the best way to pay tribute to my father, because a leaf is simple and important at the same time, so simple that its importance goes unnoticed. This was often the case with my dad.
What challenges do you face when taking photographs of leaves?
Beyond their simplicity and importance, leaves have a particular fragility. The process begins with the collection. I carry a box so they don’t break. I only collect a few so they don’t damage each other and to respect the natural shape when I find them. Last year I was able to visit Leitz Park, and it was important for me to collect leaves from that special place. In that case, I brought them back between the pages of a notebook, which kept them flat. The next step is to repair some of them, and that requires very special care in their handling before completing the photographic capture.
How did the camera work for your still lifes?
Once I’ve prepared the leaves, I ready my set, which consists of a solid black base, and I place the leaves with great care. I use natural light, photograph under a dome, use a tripod, and take care to use the lens in telephoto and ISO 100. Thanks to the optical quality and multi-shot function of the Leica SL2 system, I was able to meticulously capture the vegetal subtlety of the leaves to give a sense of monumentality to these fragile and often unnoticed objects. Multi-shot also allows me to have files that can be printed in large format.
I really enjoy the process because while life is hectic, I "stop" time by doing everything carefully and calmly.
ALL IMAGES ON THIS PAGE: © Irlanda Orrostieta
EQUIPMENT: Leica SL2, Vario-Elmarit-SL 24-70 f/2.8 Asph
Irlanda Orrostieta+-
Born in Mexico City in 1977, Irlanda Orrostieta Díaz graduated from the Escuela Activa de Fotografía and has been teaching photography courses since 2006. She collaborates with Leica for events such as the Noche de Museos, photo walks and portfolio reviews. She has exhibited in Mexico City a number of times, including exhibitions at the Centro de la Imagen, currently in the group exhibition La mirada esencial. 100 años de Leica y su conexión con Latinoamérica, 2025. More
