《绘制对应点Vol.1》水墨，丙烯酸涂料，撕纸，邮票（但丁的《神曲》），细绳和花纹纸，上面有星状盒子和折纸制成的恶魔头，日本纸 60x60cm
Drawing Counterpoint Vol.1 (Pithecanthropus Erectus), Sumi, acrylic paint, teared paper, stamp (CANTO by Dante), string, and patterned paper on Japanese paper with star-shaped box and Demon’s head made by origami, 60 x 60 cm (approx)
在COVID-19爆发后不久，我决定阅读但丁《神曲》第1篇《地狱》，我觉得世界目前的状况与小说描绘的场景多有相似。
Shortly after the outbreak of COVID-19, I decided to tackle with “The Divine Comedy Volume 1: Inferno” by Dante, which was from my speculation that the current situation in the world would share the view depicted in the novel.
Drawing Counterpoint Vol.2 (Elephant and Polyphony), Sumi, acrylic paint, teared paper, stamp (CANTO by Dante), patterned paper and plastic watering pot on Japanese paper, 66 x 57 cm, 2020
Drawing Counterpoint Vol.2 (Elephant and Polyphony), Sumi, acrylic paint, teared paper, stamp (CANTO by Dante), patterned paper and plastic watering pot on Japanese paper, 66 x 57 cm, 2020
《赞美愚蠢》水墨，丙烯酸涂料，油脂铅笔，光泽剂，印章（但丁的《神曲》），用日本香棒烧过的纸，一年生银草，日本纸 60x55cm 2020
In Praise of Folly, Sumi, acrylic paint, grease pencil, gloss medium, stamp (CANTO by Dante), burned paper with Japanese incense sticks and maiden silver grass on Japanese paper, 60 x 55 cm, 2020
在这组作品中，我试图从小说中提取永恒的元素，并用我的视觉语言将它们融合在一起。为了理解诗节，这里存在多种感知上的差距，比如我和但丁之间的，文化、教育、地理和历史层面的。因此在这组作品中，我作为现今21世纪艺术家，以视觉艺术的方式打破并重构了《神曲》。
In this portfolio, I tried to extract timeless elements from the novel and amalgamate these with my visual language. Perceptional gaps exist because, for understanding the stanza, there are many gaps between me and Dante; gaps exist in cultural, educational, geographical and historical levels, to name a few. Therefore this drawing visualizes breaking and reconstructing “The Divine Comedy” from the perspective of myself as an artist living in the 21st century right now.
There are pillars behind my eyelids, Sumi, acrylic paint, grease pencil, stamp (CANTO by Dante) and pillars made by origami on Japanese paper, 61.5 x 56 cm, 2020
Who goes with Fergus (Shide Drawing Prototype), Sumi, pigment ink, teared paper, stamp (stanza by Yeats) and shide on Japanese paper, 45 x 31 cm, 2019
我在日本四面环山的盆地中长大。孩童时的我，眼中的山脊就是一条条线，它总是处于流动的状态，汇集了一年四季的阳光、重叠的云朵、滑坡、各种色彩和密度渐变的森林。通过这样的观察，我意识到世界是由千变万化的线条所组成的。2015年我在伦敦皇家艺术学院获得硕士学位。在校学习期间，获得助学金，并荣获比利时布鲁塞尔RenéCarcan国际版画艺术大奖。毕业后，我被授予英国皇家画家版画家协会的格温·梅奖，并于2015年至2017年被选为助理研究员。2018年，我参加了美国安德森牧场艺术中心的艺术驻留，从事版画创作。
I grew up in a basin surrounded by mountains in Japan. In my childhood’s eyes, the mountain ridges were lines, which seemed to be in a state of flux resulted from shines, overlapping clouds, landslides, colours and transitional density of the trees in four seasons. Through these observations, I nurtured my sense that the world consists of ever-changing lines. I did my MA degree at the Royal College of Art (RCA), London in 2015. During my study at the RCA with a bursary, I was awarded Grand Prize from René Carcan International Prize for Printmaking (Brussels, Belgium) (Please refer https://www.mu-inthecity.com/carcan-distribue-ses-prix ). Upon graduating from the RCA, I was given Gwen May Prize from the Royal Society of Painter-Printmakers in the UK and selected as an associate fellow from 2015 to 2017. And, in 2018, I participated in a residency at the Anderson Ranch Arts Center USA as a printmaking fellow.