Born on the island of the Pacific, I consider myself a part of the region and share the aesthetic codes of East Asian countries — I feel them deeply, and they truly inspire me.
My mediums are rice paper, ink, pigments, and gold leaf. I admire washi rice paper: the diversity of its structure, its inclusions, fibers, and color. On rice paper, I create prints of fish (gyotaku), plants, and various objects, and I complement the context of the work with text.
My artistic practice focuses on the decay of systems — whether cultural, historical, or personal constructs. I am drawn to their vulnerable points, the places where a crack emerges: can it be held, mended, as in kintsugi, or is disintegration inevitable? In 21st-century culture, I observe how human-made structures — architectural, symbolic, ideological — gradually lose stability under the pressure of time, information, and consumption. In some works, I capture the moment of preservation; in others, I show how worlds collapse and disappear. This is both an analytical and a personal exploration of the fragility of order.
I create life-size images to engage the viewer physically and emotionally, to encourage mediative observation. It is important to me that a person feels the scale, the texture of the prints, and the breath of the paper.
