In my artwork I work with organic forms that cannot be perceived consciously, along with seeing that is intermixed with movement -- with the intention of creating a new process of perception.
I wish to not provide the "conclusiveness" artworks are supposed to provide -- that is, I want to escape representation through form or meaning, and instead strive for non-determinacy of imagery in which no two viewers arrive at the same "answer."
"Seeing" intermixed with movement is an important factor in my work.
In my artwork, representational and abstract elements are intertwined.
An example of movement becoming a part of "seeing" a picture is when lines and dots that seem to be there only inadvertently become a part of a picture due to a change in viewing angle -- or perception.
Another example is when lines that first seemed like text start taking the shape of an animal.
A person's perception is stimulated and his or her imagination expanded when a thing that appears to be arbitrary suddenly turns into something with purpose.
Such are the things that I am presently engaged in.
I painted before and after graduation from the university; one day, I went to a museum exhibit and saw a large map hanging on the wall. Upon seeing this I thought, "This too is a picture." At that moment I was given the ability to see pictures where I couldn't see them before.
Such expansion of consciousness and perception can occur in many ways, and they formed the starting point of the art I create today.
I get inspirations for my work from many different things, but especially from those of classic art.
The classics have certain prospect, and it always gives us different impressions whenever you look at.
My works are also often compared with old Japanese classic works.
I believe it is because my interpretation of "space" and that of Japanese classics is common in a sense.
The "figure" perceived on a canvas and the "blank" left over as well, are equally important to me.
In painting, I intend to provide a space for my admirer to think of.
One certain object pictured will bring a kind of completion, but still more, it must be able to speak about to the admirer.

I start by pasting hemp cloth on sculpted wood to create undercoating. For the surfaces, I usemineralpigment and micaofJapanese traditionalmaterial as well asglossy pigments such as metal powders and mica.
My works do not have a "top" and "bottom" in the usual sense. They instead have four sets of "tops" and "bottoms," and I create pictorial spaces that allow this to occur.