Born in Tokyo in 1979. Graduated from Tokyo Zokei University, Department of Fine Arts, Fine Arts II (Sculpture) in 2001. Completed a Master's degree in Sculpture at Tokyo University of the Arts, Graduate School of Fine Arts in 2018. Based on his interest in the "making, imagining, and thinking" that humans have been doing for many years, he creates sculptures and paintings while thinking about how to dig up the unconscious and naturalness buried in the soil. In his works, organic motifs that simultaneously evoke plants, animals, minerals, etc. appear intertwined with shapes and abstract forms. Taking the abstract delicacy of the individual, such as trivial daily life and dreams, as his starting point, he tries to see the world not through "a special longing for the sky" but through "anonymous, forgotten underground."
--Please tell us about this work.
I am not interested in art as a special act by a special person, but in the ordinary and natural acts of "imagining, thinking, and creating" that humans have been doing for many years. Because I feel that it is proof that humans have tried to understand this world. The countless forms that individuals have woven with the world. It could be said to be like tiny whispers that are left out of a big story such as history. There are countless lives underground, and the history of their activities over billions of years is engraved on it. Countless anonymous things and events that are forgotten. And thoughts and wishes. The underground feels like a world where everything melts together and coexists. The mushroom is a mycelium that is underground, and it is formed by the accumulation of invisible mycelium as a temporary form for the scattering of spores. Trees connect the underground, the earth, and the sky, and images are generated through them. Various things play and accumulate, and little by little, shapes appear like mushrooms. Imagination is flexible and fluid. They change like a game of telephone, their aims and intentions are forgotten, and their names are disintegrated. It may be similar to the movement that generates dreams while sleeping. They are always bustling and working, like an underground circus, a feast in the underworld kingdom.
Why did you decide to exhibit this work?
This is a new piece that I created in response to an offer from the Marunouchi Street Gallery. I created it with the hope of creating something that resonates with and relates to the joyful, festival-like atmosphere of the city, as well as the greenery, wind, light, birds and insects of nature, changing over time and creating a dialogue.
I usually work mainly on wood sculptures. I took a mold from the wood sculpture and replaced the main part of the work with bronze, but I deliberately chose a log as the base, which is an unstable natural object. I don't know how it will change over the years, but I hope that it will blend in with the surrounding scenery and roadside trees, and that new scenery and stories will unfold. It may sound strange, but when exhibiting outdoors, I can't help but think not only about people, but also about birds, insects, sunlight, rain, and so on.
--What are the highlights of your work? How would you like passersby to view it?
It may be irresponsible, but I don't really have any particular idea of how I want people to see it. However, I do intend to sprinkle things of interest here and there. In that sense, I would like people to look at the parts rather than the whole. I hope that by weaving together these parts, people can create some kind of image or stimulate their sensibilities.