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

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

The mesh for the screen door, which is the material of this work, is a common one that is sold at home centers for several hundred yen per roll. After cutting the net and removing the warp threads, the parts are shaped by hand. The fibers of the parts are entwined and connected to make one large solid. This work is not sewn or knitted, but is made up of entwined fibers. The screen door is a material that allows light to pass through, but by layering mesh fabrics with different materials and mesh sizes to create variations in density, and then dyeing to add shades of color, visual effects are created.

This production method is inspired by the plant nuts "Onamomi" that stick to your clothes when you go into the mountains, and the pills on your sweater. By pursuing the fun of the unique phenomenon of fibers, such as "piling", works that utilize the power of fibers were born.


Connections  (2021) / Hypnosis (2012)

Mosquito nets, chemical fiber mesh / colored with oil-based pen, hand dyed, machine sewn / 135 x 188 x 7cm, BankART AIR 2021 WINTER (Japan) / 178 x 370 x 5 cm, TEXTILE PRESENT (Japan)

Bukka: the house for requiem (2011)

Polypropylene 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. 

A piece of polypropylene tape is attached to the fishing net and split like a strand of hair, 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)

Polypropylene tape, artificial flower, funeral wreath, used fishing net / 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  (2015) / Universe  (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 (BankART Studio, 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.



"Weaving with the Land" (2023)  

"Desert 23°S" La Wayaka Current (The Atacama desert, Chile)

This work is made of shadows and stones. When I went to the desert, I was struck by the many pebbles and long shadows. Textiles are made up of warp and weft threads, and this time I used the shadows of legs as the warp threads, and the arranged pebbles as the weft threads to represent the textile with loom made by the land and humans. During my stay in October, the shadows between  7:15 and 7:45 a.m. were the most suitable for the warp of this "textile". By creating gaps in the stones, they are created as "wefts".



Chord (2022) 

Fishing line, looms / Echigo-Tsumari Art Triennale 2022 (Niigata, Japan)

"An installation work of looms hoisted with countless fishing lines and made to appear to be in  motion symbolizing Tokamachi, which once prospered in the textile industry. A town is shaped as many people engage, just as one piece of cloth is woven from countless threads. The artist says that the colorful fabrics produced in this town show the richness of the lives of the people expressed her hope that the looms and human activities will continue in the future. The venue, Takasan Shoten, is still in use today as twisting thread factory. The renovation of the aging building was carried out in parallel with the exhibition of the work." -Edited by Echigo-Tsumari Art Triennale Secretariat

Shining at the Bottom of the Sea (2016)

Round stickers, discarded fish farming net / hand embossed / 380 x 720 x 3 cm, Setouchi Art Triennale 2016 "SOKO LABO" (Awashima Marine Museum, 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

This coffee shelter is a "form of my custom". I drink drip coffee every day, but I threw the used filter away. One day, I wondered if I could use the filters I throw away every day to shape my habits. Based on the concept of "weaving habits," I used a non-woven fabric filter as the weft thread and created a piece of cloth using the filter as a pattern.

After about a year's worth of 1,000 filters took shape, I realized how much I longed for the coffee I had casually drank.

Synchronicity (2016)

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

This mohair tape is used to prevent condensation and is attached to the windows of many houses in Japan.

These two tapes are stitched together with metal embroidery thread to form a single part, which is then combined to create a semi-dimensional shape.

By rotating one part and arranging it in succession, inorganic daily necessities become an aggregate with "will".

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