Major Exhibition History
Solo Exhibitions
2026
『あわいに触れる』Hankyu Mens Osaka Contemporary Art Gallery/Osaka
2025
『消えゆく輪郭』Nagoya Mitsukoshi Sakae 7F Art Salon / Aichi
『Inner Elements』EVERANDART / Tokyo
『RAIN』ALLDAY GALLERY / Tokyo
『Unseen : Quiet Landscapes within』KARUIZAWA NEW ART MUSEUM WHITESTONE GALLERY1.2/Nagano
『視線の対話』WORLDTIMES/Hyogo
2024
『玉響の庭』gallery201/Tokyo
DESIGNART TOKYO 2024 Curated Exhibition Shibuya Seibu Showcase Window/ Tokyo
2023
『曖昧美』MA5 GALLERY /Tokyo
DESIGNART TOKYO 2023 Solo Exhibition SieMatic Aoyama / Tokyo
2022
『色の記憶』ALLDAY GALLERY / Tokyo
『CONFRONT』MONKEY GALLARY Solo Exhibition /Tokyo
『CONFRONT』MONCKY GALLERY/TOUK
Statement
Filtered Perception — The Circulation of Memory and Landscapes of Coexistence
The vivid scenes and materials that held certainty in time past gradually lose their contours within the cycle and fade away.
We take in only what we see in our line of sight, ruminate upon it, beautify it, and allow it to settle as memory.
We now live in an era where visual information is consumed at the speed of light.
The oversaturation of codified information seems to diminish the tangible presence of things, robbing us of the time to confront a single “object” deeply.
I reframe my own characteristic of “memories not being retained as episodes” as a filtration of information, and rather than asking “what happened,” I elevate it as the “skeletal framework of sensation”—the colors and textures that linger in the brain.
I then consider the process of perceiving these painted fragments anew and accumulating them as fresh memories to be a “circulation of memory.”
This process encompasses much that cannot be verbalized or captured on the picture plane, and the overlapping of bodily brushwork and matière is also an attempt to preserve in the image the thickness of analog time that receives light in that moment.
The blank space as “presence in absence” that appears after concrete representation disappears. 『あわいに触れる』, which is also the theme of this exhibition, is the pre-linguistic realm that emerges between forms, between reality and memory, and between things and self—and represents an attempt to gently touch that space.
I hope that the picture plane, constructed as “symbolic abstraction” in which diverse elements coexist and harmonize without boundaries, will connect with the ambiguous memories within the viewer’s inner depths and provide an opportunity to confront the “inner silence” that is being lost.
SNS
biscuit gallery 