The Spinning Wheel of Karma
- Type: Painting
- Medium: Herbs, charcoal, chalk, gesso, ink, and acrylic on canvas
- Dimensions: 14 x 18"
- Solo MFA Thesis Exhibition: MU - Mutation Ecologies
- Place: MFA Gallery, Concordia University, Montréal, Québec, Canada
- Year: 2019
Tōhaku’s Pine Trees and Deformation
- Type: Painting
- Medium: Ink, gesso, and acrylic on canvas
- Dimensions: 20 x 10" / 24 x 8"
- Solo MFA Thesis Exhibition: MU - Mutation Ecologies
- Place: MFA Gallery, Concordia University, Montréal, Québec, Canada
- Year: 2019
Mutating Moment #6 and #7
- Type: Drawing
- Medium: Charcoal and ink on kraft paper
- Dimensions: 24 x 24" / 36⅝ x 27½"
- Group Exhibition: Spoor
- Place: Pilotenkueche, Leipzig, Germany
- Year: 2018
Mutating Moment #5
- Type: Mixed Media Painting
- Medium: Charcoal, ink, acrylic, clay, waste paper, and kraft paper on panel
- Dimensions: 15¾ x 31½"
- Group Exhibition: Spoor
- Place: Pilotenkueche, Leipzig, Germany
- Year: 2018
Through the idea of rehabilitation, these artworks came from reusing the material from a performance titled "The Day After" (which was itself reprocessing materials from a previous exhibition). I exhibited them by referring to the idea of the "spoor" which was the title of the exhibition. Through my previous performances, I learned to conceive the body as sculpture and architecture. I drew and painted moments of mutation on damaged papers to emphasize the traces left from previous uses.
Ōkyo’s Dogs
- Type: Painting
- Medium: Oil on canvas on panel
- Dimensions: 24 x 20"
- Event: Open Studio
- Place: Concordia University, Montréal, Québec, Canada
- Year: 2017
Japanese Bosch
- Type: Drawing
- Medium: Ink on paper
- Dimensions: 18 x 24"
- Event: Open Studio
- Place: Concordia University, Montréal, Québec, Canada
- Year: 2017
Vain Regrets
- Type: Painting
- Medium: Oil on canvas
- Dimensions: 23⅞ x 17⅞"
- Solo Exhibition: In the Interval of Memories
- Event: HANARART
- Place: Registered Tangible Cultural Property – Sugiyama Shounikaiin, Yamatokōriyama, Nara, Japan
- Year: 2013
Old Toys and the Future Seen Through Cats
- Type: Drawing / Digital Printing
- Medium: Ink on paper / Inkjet print
- Solo Exhibition: Old Toys and the Future Seen Through Cats
- Place: Sabo Kouenjishorin, Kōenji, Tokyo, Japan
- Year: 2012
Unexpected Harmonious Things Often Happen
- Type: Sumi-e (Ink Wash Painting) / Digital Printing
- Medium: Gold leaf and paint, ink, and inkjet print on Japanese paper on styrofoam
- Dimensions: 6⅓ x 6⅓" each
- Group Exhibition: Wa–Art
- Place: Onishi Gallery, New York, NY, USA / Ginza Art Hall, Chūō, Tokyo, Japan / 21st Century Museum of Contemporary Art, Kanazawa, Kanazawa, Ishikawa, Japan
- Year: 2011
Hanafuda (Flower Cards) Design Pattern - October
- Type: Sumi-e (Ink Wash Painting)
- Medium: Gold leaf and paint, and ink on Japanese colored paper
- Dimensions: 12 sheets 10⅝ x 9¾" each
- Group Exhibition: 21 Spirits of Kanazawa
- Place: NY Coo Gallery, New York, U.S.
- Year: 2011
Prayer - Everlastingness of Mujô
- Type: Sumi-e (Ink Wash Painting) / Digital Printing
- Medium: Ink on Japanese paper / Inkjet print
- Group Exhibition: Prayer - Everlastingness of Mujô / HANARART
- Place: Masaki Seminar House (Registered Tangible Cultural Property), Nara city, Nara, Japan
- Year: 2011
These were works part of my group exhibition in a Japanese traditional wooden townhouse during an art festival in Nara, Japan, as a way of praying for the victims of the Great East Japan Earthquake in 2011. Nara sumi (black ink), the oldest and largest production in Japan, was used with brushes, also a traditional craft of Nara, on Japanese paper. For other works, I used pieces of gold leaf. I took motifs from the treasures of the Shōsōin Repository, a Unesco World Heritage Site in Nara since I was inspired by the transnational and universal aspects of the rare items which had been preserved for about 1300 years. I contrasted the timeless connotation of the treasures to the Japanese philosophical concept of mujô, which means impermanence, transience, or a sense of the evanescence of life. Through this idea of a transient flowing time, I was seeing a conflict or gap between a spiritual state and the material reality. Connecting the past to the present, and Japan to the world, I regarded this creation as the basis of a hope to reconstruct Japan. It was my prayer for the repose of the soul so that the spirits continue to live everlastingly.
