Major Exhibition History
〈Solo Exhibitions〉
2025
「Luminas」Ach so ne, Hokkaido
2024
「Children of Light」Court Gallery Kokuritsu, Tokyo
2022
「A Grain in the Forest of Star Rain」Kibitaki Hütte, Hokkaido
〈Group Exhibitions〉
2023
「SHIBUYA STYLE vol.17」Seibu Shibuya, Tokyo
「Episode One vol.2 Eleven Next-Generation Artists Exhibition」Hankyu Umeda Department Store, Osaka
「22nd Art Gallery Home Exhibition」Charm Suite Yotsuya, Tokyo
「FY2022 Musashino Art University Graduation and Completion Outstanding Works Exhibition」Musashino Art University Museum of Art, Tokyo
「Moyai.next」Yokohama Citizens Gallery Azamino, Kanagawa
Statement
Looking at contemporary society, we are overwhelmed with phenomena that cannot be logically divided and problems that cannot be easily solved. However, I am also made aware that in the pursuit of solutions to these problems, an exclusionary stance often emerges, creating new divisions.
At the foundation of my choice to continue the act of creation lies perhaps the realization that it allows me to remain in such liminal spaces and to face questions without answers.
When I thin paint and use seeping and gravity to create accidental complexity, or when I breathe in the beauty of colors born from colliding thick paint and stretching it, there is a sensation very similar to what I feel toward the beauty of nature. Yet at the same time, from a sense of anxiety about the screen that forms from chance alone, I have come to cover the screen with opaque colors.
I think this is an analogy of the contradiction that humans simultaneously feel both reverence for nature’s beauty and also find beauty in conflicting rationality.
Through such creative evolution, I have arrived at a technique that incorporates chance within the picture plane while using a PC and projector as interventions to somewhat fragment arbitrariness.
When I introduced elements beyond my own handiwork, attempting to reverse chance into inevitability while simultaneously preserving the afterimage in that liminal space, I felt a sensation of being able to project the contemporary era in which I live onto it.
And from the question of why I seek such harmonization of opposites, I turned around and became aware that this extremely personal and, in a sense, exclusionary activity of creation has inverted into an overarching perspective that gazes upon society.
For me, creation is an attitude of continuing to face social problems and the emotions and conflicts within myself living in this society—neither affirming nor denying, yet not giving up either.
SNS
biscuit gallery 