“Modulated light and darkness and its source”

The moment of light shining miracles certainly existed there, but it disappeared in a blink of an eye, and meetings will never come true again.

Light was a metaphor of sacred things, from the time of mythology, it was portrayed as a symbol of grace and salvation to light people. I regard light as a root of everything.

Keeping the light on the screen is also to express the shadow in the relationship between the front and back. I draw light to express the shadow of Japan.

On the abstract screen like all over painting, the silhouette of the leaves of leaves, the particle of light overflowing from the back of the screen.

The colors do not mix, so that light mixes and becomes white light, and one color is created by mixing a single color.

Looking at the whole screen, you can see from the sky, penetrate the leaves of the trees, meet a gentle moment, light of a momentary miracle.

The autumn leaves of the Kaede family, drawn in silhouettes, touches the seasons vividly and vividly changes the color of the leaves.

Leaves of light young leaves sprout in the spring, and in the summer it turns into sunny green leaves that block sunshine, and in the fall it turns from yellow to purple to burn up.

You can see the transformation of life's activities, which is fairly beautiful there.

In the sunflowet leaves series, we use whitened shell white called "chuku" to express wrapped light.

White is used because it draws margins, because it draws subtraction.

Every time you place a brush on the screen, the color disappears and the margin reveals its appearance.

The margin which is not drawn in Japanese art is an expression entrusted to the imagination of the viewer, but I draw margins by drawing.

In order to reproduce the sparkle of the trees, I use paint that crushed minerals. It induced chance and made screens with irregularities with fine particles,I draw a finely crushed metal foil like "Makie" which is a unique technique in Japan.

Moreover, by using a colored metal foil, the stipple is constructed with metal foil, and by adding the shine as the substance of the metal in the expression of light performed by Georges · Sura (1858-1851) , I am making a real feeling on the screen.

The screen reflects the light romping in the space where the work is placed, and an infinite color called natural light is added to the color expression of the light arranged on the screen.

Since ancient times Japanese gold folding screens made shadows in the space by reflecting light.

I think and produce in accordance with the shadow law of such Japanese paintings.

The paint placed on the metal foil causes a reversal of light and dark when you see it under natural light. It is also an indication that light and shade are coherent.




光は神話の頃より、神聖なるものの隠喩であり、人々を照らす慈しみや救世の象徴として描かれました。 私は光は全てを現す根源として捉えています。

移ろう光を画面に留めることは、表裏の関係にある陰を表現することでもあります。 私は光を描いて日本の陰翳を表出させています。
















“Generation of attractive force”

The moon's circle is the motif of the circular phase (circular window) as it is called in the world of Zen.

Yen is a symbolic symbol of enlightenment and truth in the world of Zen, meaning it is also called a circular window and has a meaning as a window to look at your own heart.

Nothing is written in the circle, nothing exists. It is an attraction towards the inside from the act of looking at none, and it plays the role of inviting to the introspection.

It overlapped with what I felt when looking at the moon.


The moon reflected in the water represents things without substance, heart.

The swaying water surface is a mirror reflecting the psychological state, the mind, although you see it.

When you wish for the moon on the screen, it gently emits light, and the drawn surface reflects light and shines.


The proverb of Japan "Wind to crowd of flowers in the moon" is a motif.

In the age of dizzying change, there are things that are supposed to be obstructed and obscured by beautiful things. But when the times change, looking back on the past, it will transform into a nostalgic moment without change.

Draw the current "Wind to the cranial flowers in the moon" and draw the moon which represents now.
















“Infinite of limited area”

Although there are various kinds of light simply, the area we can grasp as shapes and colors is only a limited area with a wavelength of 380 to 750 nm, but light that can feel warmth, stimulation, sensation It certainly exists.

Drawing the existence of invisible things is the essence of Japanese paintings, and Japan is a culture of "super flat" that has been making new things from ancient times by incorporating various cultures, values and religions.

In this work, we incorporate the cosmic view that we know as it is now and the universe feel of Japanese paintings.

In "orbit (orbit)" we draw an orbit of action and a random fluid.

The line depicting the orbit is a symbol of what can not be seen.

The smallest unit that makes up this world is a point, and originally there is no line, but I feel that one of the abstracted beautiful things people produce is a line.

By adding Japanese painting techniques using fluids that do not intervene in acts and a circle that is a minimum shape with an artificial line, conflicting objects were confined in one screen.

Both of them are shaped according to the laws of physics and I feel the beauty of this world.












“The essence behind things”

Pictures and letters drawn by tracing the dew condensation window or mirror with your fingers when I was young. In the shape that draws and disappears, you can find traces of memory, fragments of beautiful activity, and traces.

Spreading warmth, water melted in the air creates an instant canvas by clouding cold windows and mirrors.

From the front of the screen, you can see the metal foil attached to the whole surface.

Changing the angle makes it appear that a girl is haired with hair blown by the wind and water droplets dripping by wiping dew condensation.

Illusions that existed in a corner of memory, existence that should have been there, drawing a girl as a symbol of life that the wind is blowing and will disappear.

Water droplets wiping the window are also metaphors of life and memory that do not stay in the same place.

The sign of water that fills the scenery as seen also in "living stream" of Yokoyama Taikan (1868-1958) which depicts the changing water by changing shape and repeating, the essence of the painting depicting the flow of time and the work of life As it is painted in Japanese paintings.

Looking at the time of eternity, the life of each of us is fragile, tracing the dew and drawing it disappears, it is like a picture, but there is a certain trace there, changing its shape It is like water that goes all over the world.

The condensation series is a work depicting traces of such life and memory.