Nature demonstrates ambivalence towards gentleness and dramatic changes.

We find comfort and anxiety to various vague and amorphous forms.
So,when we encounter a new experience, it challenges our personal history of emotions and
memory as we attempt to endow meanings on the experience, and to seek peace of mind.

" The eternal flower" is created through two processes; a solar photo-chemical process called cyanotype,
and a mathematical form, the object I named as "Lucies In the Skay with Diamond".
The Photosensitizer draws the exposure forms by the encounter of the behavior of a liquid and Japanese paper.
And It's exposed under one day's sunshine with part hidden by Lucies's existence and its color effect.
Aspects of exposure time can be resealed in the print (e.g., the position of the sun, the amount of cloud cover,
and the amount of ultraviolet rays).
At first glance, it is always as a chance or concidental encounter,
but of course it is always grounded in the chemical and mathematic process.
The mysteries of life and death by disease and reproductive behaviors provide an indication of the interaction
between memory and the natural world.

The purpose of my work is to interpret nature.


2003 eternal flowers; diary of August-Nvemer,2003 / girl!girl!girl! (Operacity Art Gallery/Tokyo,Japan)
2005 eternal flowers / Group show (Kanazawa 21 century museum/Ishikawa,Japan)
2007 eternal flowers / fuse/fureru (UCSC Art Galley, Santa Curuz Art and history museum/CA,U.S.A)
2008 eternal flowers / eternal flowers (Gallery Kobo Under Stairway/Tokyo,Japan)
2011 eternal flowers, or kite/ Utsurobune -the marriage of Art and Science-(Taro Okamoto Museum kawasaki/kanagawa,Japan)