Still Life with Cockscomb / 125 x 125 mm / etching on paper / 1998




COSMOS / 250 x 365 mm / etching on paper / 1999 / Ed.50




ROSE / 275 x 365 mm / etching on paper / 1999 / Ed.50




CAMELLIA / 365 x 570 mm / etching on paper / 1999 / Ed.50




ROSE / 365 x 570 mm / etching on paper / 1999 / Ed.50




PEONY / 570 x 365 mm / etching on paper / 1999 / Ed.50




A ROSE / 650 x 910 mm / screen print on paper / 2000 / Ed.20




PEONY 1 / 650 x 910 mm / screen print on paper / 2000 / Ed.20




PEONY 2 / 650 x 910 mm / screen print on paper / 2000 / Ed.20




TULIP 1 / 910 x 650 mm / screen print on paper / 2000 / Ed.20




TULIP 2 / 650 x 910 mm / screen print on paper / 2000 / Ed.20




A ROSE / 650 x 910 mm / screen print on paper / 2000 / Ed.16




PEONY 1 / 650 x 910 mm / screen print on paper / 2000 / Ed.20

PEONY 2 / 650 x 910 mm / screen print on paper / 2000 / Ed.20




TULIP 1 / 910 x 650 mm / screen print on paper / 2000 / Ed.20




TULIP 2 / 650 x 910 mm / screen print on paper / 2000 / Ed.20




LOVE SONG / 650 x 910 mm / screen print on paper / 2001 / Ed.10

MOTHER / 650 x 910 mm / screen print on paper / 2001 / Ed.8




MEMORY / 650 x 910 mm / screen print on paper / 2002 / Ed.20




LOST MEMORIES / 650 x 910 mm / screen print on paper / 2003 / Ed.18




FLOW / 650 x 910 mm / screen print on paper / 2003 / Ed.18





Filled / Japanese pigment on Japanese Paper / 333 X 242 mm / 2004





Dependence / Japanese pigment on Japanese Paper / 333 X 242 mm / 2004





Gentleness / Japanese pigment on Japanese Paper / 910X 652 mm / 2004

Nearness of you / Japanese pigment on Japanese Paper / 910X 652 mm / 2004






Restart in Japan

After returning to Japan from London, I couldn't adapt to the changes in the environment immediately, and I couldn't get a place for production or presentation, so I had a hard time for a while.

I wanted to continue my artist activities with the concept of the London era, but it didn't go as I expected and I was once frustrated.

After that, I became a university faculty member and was able to get a place for production and presentation, but this time there were restrictions due to invisible pressure, and my works I made in London was not appreciated, so I had to change the style of the work.

I realized that human beings are creatures that change depending on the environment.

Still, I didn't quit production. No matter what the restrictions or the environment, the work is my expression, and it expresses myself.

Anyway, I continued to produce and present works that would be acceptable and what I could do in the environment of the time.

When I look at it now, those works still represent myself at that time, and clearly express my thoughts and feelings.

 XYZM     2022