Month: March 2026

Concept

My creative process begins with an interest in the diverse phenomena that emerge within our environment, such as light and climate. By layering the shifting light and airflow experienced in nature with the imagery of motion found in animation effects and physical movements, I explore the moment when a sense of light or energy is generated within the frame. My aim is to fix a state upon the static surface where unresolved motion, time, and the presence of the “next moment” begin to rise.

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Statement

“Transforming the infinite space of Ma into something finite.

In the composition of Japanese painting, the relationship between the figure and the negative space known as Ma is of great importance. In my own work, I interpret this void as light and treat the ground of the painting, the finite Ma, as my primary focus. By bestowing a white ground as light upon the infinite space that was once untouchable, I aim to capture the subtle nuances of time, humidity, and the seasons, while imbuing the work with a sense of the artist’s physical presence. Rather than leaving the intervals and distances between objects as raw canvas, I paint them in white. Through this act, the space that appears infinite is illuminated by light and transformed into something finite.

This ground of light exerts an influence on the figures, deepening the richness of their mutual relationship. I seek to express the lingering resonance of a space that exists in perfect harmony with the objects within it.”

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Statement

“I have always been drawn to the subtle fluctuations and sensations of daily life, much like how one thinks of winter in the spring or summer in the autumn. There is a deep emotion in the passage of time. My surroundings, my memories, and my various relationships are in a constant state of flux. I paint the moments that exist just before these events and emotions are given form through words.

While figures appear repeatedly in my landscapes, my work avoids a direct explanation of events or feelings, and a clear narrative is never explicitly told. I cherish the blank spaces and the uncertainties left unpainted; the story hides within subtle gestures and the movement of the composition. Within these landscapes and the posture of the figures, there dwells a quiet emotion and the melancholy of seasons and relationships shifting outside of our conscious awareness. As outlines grow blurred and the scene expands beyond the frame, even the unpainted areas capture the work, attempting to express the inherent obscurity of the world. I want to paint in a way that allows the viewer to feel a sense of poignant sadness, yet at the same time, a sense of richness.”

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Statement

Here is the translation with the em dashes removed and the sentences restructured for a smooth, professional flow.

Artist Statement

When looking at modern society, it is overflowing with phenomena that cannot be explained by logic and problems that cannot be easily resolved. Yet, I have realized that the pursuit of these solutions can, before we know it, flip into something exclusive and give rise to new divisions.

At the root of why I continue the act of creation is perhaps the feeling that it is a place allowing me to remain within those “intervals” (awai). It is a space permitted for facing questions that have no answers.

There are moments when I catch my breath at the accidental complexity created by thinning paint and letting it yield to bleeding and gravity, or at the beauty of colors born from clashing and stretching thick layers of pigment. This sensation is very similar to the feeling one holds for the beauty of nature. However, at the same time, a sense of unease toward a canvas composed entirely of chance led me to a process of masking that surface with opaque colors.

I believe this is an analogy for the contradiction of how humans feel awe toward the beauty of nature while simultaneously finding beauty in its opposing rationality.

Through this evolution in my practice, I arrived at a method where I incorporate chance within the frame while intervening with a PC and projector to fragment my own arbitrariness to a certain extent. By introducing elements other than my own handiwork, I attempt to flip chance into necessity while simultaneously capturing the afterimage of that “interval.” In doing so, I felt a slight sensation of being able to project the contemporary world in which I live onto the work.

Then, turning back to the question of why I desire such a reconciliation of opposites, I realized that the act of creation, which is an extremely personal and in a sense exclusive endeavor, had flipped into a bird’s-eye perspective for observing society.

For me, creation is an attitude of continuing to face social issues and my own internal emotions and conflicts. It is a state of neither affirming nor denying them, yet never becoming indifferent.

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Concept

Drawing as Materiality: From Line to Space
Drawing, to me, is about pulling a line off the paper and into space. It is not a fixed image, but a substance—one that possesses a distinct mass and continues to generate itself.

These transparent vessels are constructed from lines cut out of acrylic plates and the traces of their removal. These two elements, originally one, do not share a simple “inside and outside” relationship. The boundary is not a frame that contains the line; rather, it is the space itself, manifested through the line’s absence.

When light pierces the structure, the form undergoes a further metamorphosis. The shadows—deviating from the physical body, distorting and overlapping—reveal the inherent instability of form: the discrepancy between entity and phenomenon. There is no “final state” for this work, as it is perpetually redrawn by the shifting light. The transparent structure dissolves boundaries, while the shadows encroach upon the entire space. I am working with the fluid “state of the line”—a process of continuous generation and deconstruction within the flow of time.

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