Artist statementアーティスト・ステートメント

My work begins with the belief that solitude is not the opposite of connection, but the condition through which we begin to perceive our relationship with the living world.

In moments of stillness, the boundaries that separate ourselves from other forms of life become less certain. Memory, emotion, nature, and imagination no longer exist as separate realms, but quietly converge, revealing relationships that often remain unnoticed in the rhythm of everyday life. Rather than seeking to explain these connections, my practice creates spaces where they may simply be felt.

I understand longing not simply as desire, but as the quiet movement through which solitude gradually opens itself to the living world. It is not driven by absence, nor by the wish to possess, but by a fundamental impulse within life to reach beyond its own isolation. In this sense, longing is less an emotion than a way of being—one that allows us to encounter another life while remaining deeply attentive to our own.

This understanding has become the foundation of my practice. My sculptures and paintings are not intended to illustrate narratives or symbols, but to hold moments of quiet encounter. The human figure frequently appears not as an individual portrait, but as a vessel of perception—its stillness inviting a heightened awareness of what exists beyond language. Animals, plants, and organic forms are likewise not subjects in themselves, but manifestations of a shared living presence. Together, they inhabit an interior landscape where distinctions between self and world, memory and nature, gradually dissolve.

In recent years, I have expanded my sculptural practice to include digital modelling alongside physical making. Rather than replacing traditional sculpture, digital space has become another place of contemplation. Freed temporarily from the constraints of gravity and materiality, forms are able to emerge in a state that remains close to thought itself. Their return to physical presence marks not the completion of an object, but the continuation of a dialogue—between imagination and matter, the virtual and the tangible, the body of the work and the body of the viewer.

Across every medium, I understand sculpture as an act of giving form to experiences that resist language. Every surface, gesture, and trace of colour becomes an attempt to make perceptible the quiet movements through which life continually reaches beyond itself. Art, for me, is not an escape from solitude, but a way of inhabiting it.

私の制作は、孤独はつながりの反対ではなく、私たちが生きた世界との関係を知覚しはじめるための条件である、という考えから始まります。

静けさのなかで、私たちと他の生命とを隔てる境界は曖昧になります。記憶、感情、自然、想像力はもはや別々の領域として存在するのではなく、静かに重なり合い、日常のリズムのなかでは見過ごされがちな関係を浮かび上がらせます。私の制作は、それらのつながりを説明するのではなく、ただ感じられる空間をつくることを目指しています。

私は憧れを、単なる欲望ではなく、孤独が徐々に生きた世界へとひらかれていく静かな動きとして捉えています。それは欠如や所有への願望から生まれるのではなく、生命が自らの孤立を越えようとする根源的な衝動です。この意味で、憧れは感情というよりも、自己に深く注意を向けながら、もうひとつの生命に出会うことを可能にする存在のあり方です。

この理解が私の制作の基盤となっています。彫刻や絵画は物語や象徴を説明するためのものではなく、静かな出会いの瞬間を留めるためのものです。人間の姿は個人の肖像ではなく、しばしば知覚の器として現れます。動物、植物、有機的な形も、それ自体が主題なのではなく、共有された生命の現れです。

近年、私は身体的な制作と並行してデジタルモデリングを彫刻制作に取り入れています。デジタル空間は伝統的な彫刻に取って代わるものではなく、もうひとつの思索の場となりました。形が物理的な存在へ戻ることは、想像と物質、仮想と触覚、作品の身体と鑑賞者の身体との対話の継続を意味します。

あらゆる媒体を通して、私は彫刻を、言語に抗う経験に形を与える行為として捉えています。私にとって芸術とは、孤独から逃れることではなく、そのなかに生きるための方法なのです。