About the materials

For postcard-size works, I use all types of watercolor paper, such as Watson, Clester and Muse Kenaf.
In most of the larger work, I use Japanese paper called Kumohada Mashi.
Linen is mixed in this Japanese paper, so it is very strong.
I place the paper on a white board rather than paste it on a panel, and work on it.
As for clay, just a few types of ocher used for Japanese painting was available in the early days.

However, clay from all over the world, including European countries such as Italy, France, England, Germany and Greece, as well as Russia and Bohemia became available at art supply stores in the past few years, so I am enjoying a wide variety of colors.
If I dilute Gesso and paint it, what was underneath becomes transparent, so it is interesting. Gouache produces a vivid color, and another characteristic is that it penetrates well into Kumohada Mashi.
After drying it well for 2 days and wash it down with water, sometimes it yield unexpected effects, and I sometimes use it as a base of a drawing.
For Gelatine, I melt what is called Sanzenbon, and use it as a binder for clay and rock paint.
Japanese pigment is a traditional rock paint, and it is mainly used in Japanese painting.
It is a fine grain of rock made by crushing rocks, and the color brightness can be changed by changing the grain size.
Please note that all sizes are expressed in mm.
126 x 238 variant means a variation type of 126mm x 238mm.                  2014,8

About the title

I put titles on my work by feeling or intuition.
For most of the pieces, except for the large ones, I take their photos and look at them when thinking of their titles.
This way, I can look at my work in an objective way, and makes it easier to think of their titles.
For abstract drawings, it might be fine just to but numbers on them.

However, in my case I write down the words that come to mind as I look at the photos, and pick those that I like.
The titles might be meaningless to others, since they come from my perception or personal memories.
When I put a title on my work, I feel that it is now standing on its own feet, and it took a step away from me.

Please think of the title as perhaps a word that may be suitable for the work.
There are cases when the English translation does not convey the nuance, so this is something that I’m still thinking about.                                 2014,8


After soft lines continue for several months, strong lines suddenly appear.
When the materials are changed, the works acquire totally different expressions.
Sometimes I wonder if they should be so different, but now I have come to think of them as all being part of my identity.
Probably, this wide fluctuation represents who I am.

In drawings with shapes and colors, I can experience the changes in the drawing through my five senses, so it is endlessly interesting.
For works that are as large as me, it is very rewarding because my motivation becomes very apparent.

I have no choice but to run with full speed.
Just like it is meaningless to ask for the purpose of walking or running, it makes me realize again that it is meaningless to ask the purpose of drawing.                   2000,11