I was borne in Kyoto, Japan in 1985, and graduated Master of Fine Arts from sculpture course (Kishio Suga Seminar) in Kanazawa College of Art in 2011. I am recently based in Kyoto and Los Angeles, and represents my artworks which are photography.

​I started my using camera when I had been building my sculpting career in 2017. I consider taking images similar to creating sculptures.

However, although sculpting generally happens inside a studio, whereas photographing can be done anywhere, especially outdoors. It's with this in mind, that I choose my subjects in difficult to reach areas. It is important to me to go on to these "field works" and bring such faraway subjects closer to the viewer.

My most iconic art works, I have been working on a photographs + installation project since 2017, titled "CRASH".

"CRASH" series does not refer to incidents or accidents, instead it represents the mutual relationship between nature and artifacts left behind by humans. These artifacts are represent the culmination of technologies, abandoned to natural environments.

These machines that have been thrown away after being judged not valuable anymore by people, could only surrender themselves to the environment.

Despite this dystopian world, similar to a sci-fi novel, this afterworld, provides a glimpse to a truth rarely seen. By discovering these artifacts, literally "foreign objects" in the natural world, and usually found in very remote locations, I try to photograph them similar to human faces or bodies, appealing to the viewer's humanity. Because they are Non-Human.


In my photographic process, I use infrared cameras and drone. Digital cameras can visualize some subjects that human eyes can not see or interpret differently. I use the infrared camera to separate and visualize abandoned machines as "artificial objects" and "natural objects" such as plants and trees. ⁠​


Specifically, using an infrared camera, allows me to depict chlorophyll, pigments in plants' leaves, in white, which visually amplifies the gap between the artifacts and  the plant materials.  This process allows me to express my concept that stresses the contrast between "expired technologies" and their decay to the "living of plants" which surround them. 


Because I consider environmental field works, that are possible to be made happened by artists who can move, have to cut out the subjects, that can’t move from there by themselves, artists have the power to inform true stories from the fields to many people.

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