1988 Born in Osaka
2012 B.F.A.,Japanese Painting,Kyoto Seika University
2014 M.F.A.,Japanese painting, Kyoto City University of Arts

Major solo exhibitions
2024
“Another Arcadia” galerie16,Kyoto
2018
“When you reach the mountains, quality is tangible and spiritual” plus1 Art Gallery, Osaka

Major group exhibitions and art fairs
2023
“Keichoen × Roka Sensuisou: Unconnected Boats” Roka Sensuiso, Shiga
2021
“ARTIST,S FAIR KYOTO 2021” Kyoto Culture Museum Annex, Kyoto
2019 “80th Anniversary of Sankei Hara’s Death Sankeien x Yokohama Art University Sankeien and Japanese Painters” Kakushokaku in Sankeien, Yokohama

Major awards and selections
2024 KYOTO NIHONGA SHINTEN 2024 Exhibition
2019 KYOTO NIHONGA SHINTEN 2020 Exhibition
2016 Sompo Japan Nipponkoa Art Award Exhibition FACE2016 Selected Shell Art Award Exhibition 2016 Selected

left:《Scratch (detail)》color on silk, hanging scroll 1060×445mm 2025
right:《early spring》color on silk, panel 605×860mm 2025

I built a hermitage on the border land where people live.
Here, there is no hustle and bustle of horse-drawn carriages.
You often say that you can do that.
The further you get away from the world, the more remote the place you live becomes.
Picking chrysanthemums planted on the eastern fence
When I suddenly look up, I can see the south mountains in the distance.
The mountain haze is very beautiful at dusk.
The birds return to their nests together.
This is where the truth lies.
However, even if I try to say something, I forget the words.
[From Tao Yuanming's "Drinking" No. 5]

The above is a poem by Tao Yuanming, a poet from the Six Dynasties period. Augustin Berque, a French climate scholar, analyzed Yuanming's leisurely poetry as follows in his major work,"Ecumene: An introduction to the study of human milieux".
''What is especially important in this poem is not the emotion of the beauty of the landscape.The theme of landscape has not yet been emphasized in Yuanming's poetry.''
''In order to encounter phenomena...it is necessary to turn oneself away from the world. Not towards individual consciousness, but towards things themselves, in their most revealing simplicity. This is precisely what the movement of seclusion and retreat (retirement) of the Chinese poets of the Six Dynasties symbolizes."
''In everyday language, the plane of the narrator and the plane of what is said about the phenomenon are separated by a perspective distance, but what the Tang poets attempted to do was to eliminate this perspective distance.''
[From Augustin Berque's "Ecumene: An introduction to the study of human milieux" Chapter 2 the World]

I am now looking at the wrinkles of plants and birds in front of me and the folds of mountains in the distance.
Then, on the same screen, I try to create a picture by carving each line one by one.
However, when I look at plants and flowers close to me, the epidermis, wrinkles, and patterns that appear before my eyes are completely different from when I looked at them from a step away, and I am always amazed at the gap in the change in image.
Similarly, when I look at a far-off mountain, the fact that my eyes cannot follow the details of its foliage comes and goes over and over again, leaving me forever at a loss.
Things that are extremely close and things that are extremely far away are both surface conditions that cannot be grasped as they are, and it is difficult to understand or draw them.
Still, I try to give it some shape, and I follow the folds and wrinkles one by one...
This behavior is just like the painters of the Yuan era and the literati of the Edo period.
I think this is similar to the way they began their understanding and production by first tracing the wrinkles on the surface of classical paintings and hand-painted books that were far away from them.
As I steadily draw the wrinkles and folds, the information about near and far that I had not been able to fully process until now becomes ''translated'' into something that is my own, with some misinterpretations.
In short, I would like to level out the near and far, the present and the classics, on the same plane, and begin painting by tracing that surface.
What did Tao Yuanming think when he suddenly glanced from the chrysanthemums near him to the mist of south mountain in the evening? What kind of inspiration did the difficult details of near and far between the chrysanthemum and the mountain bring to the poet?
Well, I keep thinking about things like that as I draw pictures.