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Swarms Ⅰ (2009) / Swarms Ⅱ (2009) / Swarms (2010) / Hypnosis (2012)

Mosquito nets, cotton mesh, chemical fiber mesh / colored with oil-based pen, hand dyed, machine- sewn, own technique / 170 x 200 x 7 cm, Valcellina Award 2009 (Italy)  / 130 x 230 x 10 cm / 180 x 450 x 25 cm, The Japan Contemporary Fiber Art Exhibition / 178 x 370 x 5 cm, TEXTILE PRESENT (Japan)

“Patterns inspired by raw materials -Limitless life in a limited world-"

Many of my past works are made from net material for a screen door that is found in most houses in Japan, but that does not mean “works made with net material" but "works born from discoveries from net material ". I think that there are many things in our daily lives that we do not consciously see or do not know, even though we are familiar with them and recognize them. 

        In these work, abandoning the recognition of screen doors as daily necessities, I am convinced that as a result of pursuing the characteristics and properties of the material, the expression = originality unique to that material has been achieved.

        At the same time, these works of net materials have significance in that they make the viewer think about things that are “free, and yet restrained.” The important meaning of these works is the “freeing of the viewer from a fixed idea of a screen door” and "losing the meaning of the screen door itself". In other words, first of all, I, myself, am freed from the functions of screen doors, and by being aware of the net as a material, I can make viewers aware of the "original screen door".

Note: The net material of the screen door here is a mosquito net.


Connections Ⅱ (2021)

Mosquito nets, chemical fiber mesh / colored with oil-based pen, hand dyed, machine sewn / 135 x 188 x 7cm, BankART AIR 2021 WINTER (Japan) 

Bukka: house for the deceased (2011)

Packing tape, artificial flower, funeral wreath, used fishing net / Hand-tied and combed, Awashima AIR 2011 (Japan)

I produced this work using a dilapidated house on the island together with fishing nets that had been discarded by fishermen who no longer worked there. 

        Using fishing nets individually fastened with packing tape, I covered the hut to express the notion that this dilapidated house reacts (when fluttering in the wind) and is therefore living. Tape is fastened with variation in its vertical arrangement and horizontal density so that movement changes like hair depending on the position of the house when wind  blows.

        The sea surrounds this hut on all sides, with mountains visible in the background, and Mt. Sanuki-Fuji can be seen

across the sea when viewing the hut from the top of the hill behind. The aim is to convey a sense of the diversity of islands by producing a scene that can only be enjoyed here.



Shangri-La (2014)

Packing tape colored with oil-based color pen, fishing net, funeral wreath / hand-tied and combed, Rokko Meets Art 2014 (Japan)

The roots of fiber knot are colored purple, with the appearance of the colors made changeable by the strength and direction of wind on a given day. This work shows a natural scene that is a once-in-a-lifetime encounter with the theme of Shangri-La.



Universe (2015) / Universe Ⅱ (2015) / Universe Ⅰ (2015)

Vinyl hose colored with oil-based pen / own technique / 192 x 192 x 3 cm, Tama Art University 80th Anniversary 1935-2015 (Japan) / 120 x 120 x 5 cm / 120 x 120 x 3 cm, BankART AIR 2015 (Japan)

Although cloth is a plane and has a warp and weft tissue structure, I thought that a plane with like a warp and weft structure would be as something close to cloth without limit.

        A wire-like thread can be seen in the middle of this part, but this does not actually exist and is rather a reflection visible due to the coloring of a circular cross-section of hose.

        This work is a "cloth" spun out of existing two-dimensional lines and three-dimensional phantom threads created by their reflection.

Universe (2019) 

Vinyl hose colored with oil-based pen and the same parts made in 2015 / 120 x 120 x 3 cm, BankART AIR 2019 again (Japan)

One of my past works is "Universe I", which was produced at BankART AIR 2015 under the theme of "something close to cloth without limit". Four years later, in 2019, I created "Universe III", which is a combination of the newly produced parts and the parts produced in 2015. This is a work that expresses the "pattern created by the passage of time" due to deterioration over time. The mixture of past parts and those made four years later creates a deep and unique pattern.


Shining at the Bottom of the Sea (2016)

Stickers, used fishing net / hand embossed / 380 x 720 x 3 cm, Setouchi Art Triennale 2016 (Japan)

Since the scales of the fish left in the abandoned aquaculture nets were beautiful, the round sticker was used as an image of scales.

The sticker is sandwiched between the top and bottom, and the pliers bleed the air like a vacuum pack to emphasize the pattern of the net. The round stickers come in three sizes, large, medium and small, and come in two colors, gold and silver, but the stickers are arranged according to certain rules. The small and medium sizes are placed only on the cross in the center of the mesh, and the large sizes are placed vertically and horizontally in addition to the center.

        I majored in weaving at university, but the expression of textiles expands by giving conditions within the absolute binding of warp and weft. I think that the rules and conditions are not inconvenient, but a guide to new expressions.

Chord "Resonance" (2018) / Confusion (2018) / Empathy (2018)

Mosquito nets, chemical fiber mesh, raffia tape, fishing net / hand dyed, machine sewn, own technique / 200 x 265 x 4 cm, Textile Art of Today (Slovakia, Hungary, Czech, Poland), 200 x 200 x 6 cm, TXT Prize 2017 (Slovakia) / 178 x 178 x 4 cm 

Up until now, I have been producing with primitive methods such as tying, assembling, and tearing, which are the basics of textiles. In this work, I tried to establish an unprecedented cloth by stacking pieces of cloth with different transparency, which were made by hand dyeing or sewing, into one part and fixing them with a stapler.

        While being conscious of the structure of the warps and wefts like weaving, they are made one by one like knitting, and the parts are assembled into one piece of cloth so that there is a space between the eyes like a basket. However, it is a cloth that is neither woven nor knitted.

        The slight distortion and uneven stacking caused by handwork, as well as the parts that deviate from the original rules set for the cloth, are the expressions and patterns of the cloth that convey the sensibilities of the creator. I suspect that something like an unconscious hand habit due to the author's personality may turn the fixed rules into own artistic sense.



Territory: Coffee Shelter (2007)

Used coffee filter, ramie, abaca / hand-woven double lace weave, own technique / 280 x 100 x 60 cm

Synchronicity (2016)

Polypropylene tape, metallic thread / hand embroidered / 70 x 140 x 4 cm, Contextile 2016 (Portugal)

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