My Process
Every work begins long before the knife touches the paper.
It begins with observing the world around me — the flight of a bird, the shape of a flower, the quiet atmosphere of an old temple, or a memory that has stayed with me for many years.
Through this process, I try to preserve not only an image, but also the feelings and stories hidden within it.
It begins with observing the world around me — the flight of a bird, the shape of a flower, the quiet atmosphere of an old temple, or a memory that has stayed with me for many years.
Through this process, I try to preserve not only an image, but also the feelings and stories hidden within it.
Field Notes
“Every work begins with seeing.”
Before I draw, I observe.
Many of my ideas come from walking through nature, visiting historical places, or simply noticing small moments in everyday life.
For me, these experiences become quiet notes that are later transformed into paper.
Before I draw, I observe.
Many of my ideas come from walking through nature, visiting historical places, or simply noticing small moments in everyday life.
For me, these experiences become quiet notes that are later transformed into paper.
Sketch
“A single line can become an entire world.”
I do not begin by drawing shapes.
I begin by drawing lines.
Each line must remain connected, supporting the entire image like the branches of a tree.
The sketch is where the balance between beauty and structure is carefully created.
I do not begin by drawing shapes.
I begin by drawing lines.
Each line must remain connected, supporting the entire image like the branches of a tree.
The sketch is where the balance between beauty and structure is carefully created.
“A single line can become an entire world.”
I do not begin by drawing shapes.
I begin by drawing lines.
Each line must remain connected, supporting the entire image like the branches of a tree.
The sketch is where the balance between beauty and structure is carefully created.
I do not begin by drawing shapes.
I begin by drawing lines.
Each line must remain connected, supporting the entire image like the branches of a tree.
The sketch is where the balance between beauty and structure is carefully created.
Cutting
“The drawing leaves the paper.”
Every work is cut entirely by hand from a single sheet of paper.
Nothing is added.
Nothing is removed.
By preserving the connection of every line, the image can be lifted from the paper and begin to exist in space.
It can rest in the palm of your hand, allowing light and shadow to pass through its delicate structure.
Every work is cut entirely by hand from a single sheet of paper.
Nothing is added.
Nothing is removed.
By preserving the connection of every line, the image can be lifted from the paper and begin to exist in space.
It can rest in the palm of your hand, allowing light and shadow to pass through its delicate structure.
Coloring
“Light gives the work its final voice.”
Color is added carefully, using techniques that allow the delicate lines to remain alive.
Gold, silver, and subtle layers of color create changing expressions as the light moves across the surface.
Color is added carefully, using techniques that allow the delicate lines to remain alive.
Gold, silver, and subtle layers of color create changing expressions as the light moves across the surface.
Installation
“A work is completed when it meets the space around it.”
For me, kirie is not only something to be framed.
When it is displayed, surrounded by light and atmosphere, the work becomes part of the space itself.
I hope that those who encounter these works can experience not only the image, but also the quiet world that exists beyond the paper.
For me, kirie is not only something to be framed.
When it is displayed, surrounded by light and atmosphere, the work becomes part of the space itself.
I hope that those who encounter these works can experience not only the image, but also the quiet world that exists beyond the paper.
