My work explores thresholds—between memory and forgetting, humans and nature, history and myth.

I see my artistic practice as a form of connection – between past and present, between cultures, between humans and nature.
Painting is my central medium: a tool for tracing, an intuitive language that allows me to remember, question, and make visible what only appears in fragments.

Transgenerational experiences, transcultural identity, personal memory – and the process of remembering itself – are condensed in my work. A key focus of my artistic research is the story of my japanese grandmother, who survived the atomic bombing of Hiroshima and was disowned by her family for marrying a foreigner.

In my paintings, image spaces emerge where fragments of history, myth, and memory overlap. Yōkai, Japanese folklore, and fairy tales act as poetic agents in the blind spots of memory. They open a path toward an animistic worldview.