This array shows a common formula applicable for both of the exhibition space and the daily space.

In reflection, not adjusting art works to any specific site can be a method to see the site in an objective way.

Making any limits and any rules has the possibility to energize the character of the site.

These painting series aim to re-construct my own ‘painting’ on other surfaces by using egg tempera techniques. In other words, I’m painting ’paintings’.

An original stroke appears at a moment, but it is re-constructed little by little if I paint it again with fine brushes for egg tempera.

Even a stroke contains a lot; such as the distribution of the strength, the movement of the liquid, the condition of the surface, the temperature, and the characteristic of each pigment.

I re-build the unknown possibility of ‘painting’ on the basis of the observation of my past paintings.

I stayed and worked in Ii, the town near Lapland for two months in summer time.

There, I made series of paintings from local materials I got; such as eggs, cheeses, potatoes and rye flour.

I spent most of days according to a daily routine of just eating, cooking, sleeping, and creating something. Therefore, ‘living’ and ‘painting’ were assimilated with each other.

Nevertheless, my painting works gradually changed influenced by experiences in the circumstances.

Curation work in an Art festival “HANARART” in Nara Prefecture, the oldest capital of Japan.

The exhibition was held in two venues in the group of traditional buildings in historical area of Imai-cho; a former rice factory and a traditional Japanese house mended by artists themselves.

“Reminder for Making Methods” issues common verbs essential for both of daily living and creation. “To speak”, “to live”, “to draw”, and “to polish” were structured for not only creative activities but also people’s daily lives. For both have much in common.