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Backstage

July 2026

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The byobu with colorful waterfall—one of two works which are commissioned by the Tokyo National Museum—originated from a question: what have struck with awe by the people of the Asuka period when various cultural artifacts and goods arrived in Japan from the west? I selected dozens of color palettes spanning the Sasanian Empire, Gandhara, India, and China, and worked to determine the best combination.

The byobu with colorful waterfall—one of two works which are commissioned by the Tokyo National Museum—originated from a question: what have struck with awe by the people of the Asuka period when various cultural artifacts and goods arrived in Japan from the west? I selected dozens of color palettes spanning the Sasanian Empire, Gandhara, India, and China, and worked to determine the best combination.

I began on the black-and-white "Waterfall" piece. This work was conceived as a counterpart to a color piece—which sought to give form to continental influences—drawing inspiration from the concept of a divine dynamic underlying all things; a concept that emerged when ancient Shinto, indigenous to Japan, was organized following the influx of various advanced civilizations and cultures from the continent.

I began on the black-and-white "Waterfall" piece. This work was conceived as a counterpart to a color piece—which sought to give form to continental influences—drawing inspiration from the concept of a divine dynamic underlying all things; a concept that emerged when ancient Shinto, indigenous to Japan, was organized following the influx of various advanced civilizations and cultures from the continent.

This series is rooted in the concept of *Kannagara*— Shinto belief that all forms are the work of the divine. I approach the task by accepting the forms that emerge naturally as precious and sublime, seeking to capture them in a way that honors their inherent character. The stark contrast of forms in black and white—much like the colorful imagery of waterfalls—reflects my long-standing artistic pursuit of finding beauty in the forms of nature itself.

This series is rooted in the concept of *Kannagara*— Shinto belief that all forms are the work of the divine. I approach the task by accepting the forms that emerge naturally as precious and sublime, seeking to capture them in a way that honors their inherent character. The stark contrast of forms in black and white—much like the colorful imagery of waterfalls—reflects my long-standing artistic pursuit of finding beauty in the forms of nature itself.

I traveled to Kyoto to work on painting onto tea bowls. Initially, I intended them for Daitoku-ji Juko-in, so I began by using the same color scheme found in the temple's main hall: a white waterfall set against an ultramarine background. However, the work did not go as I had hoped; I discarded the majority of the pieces, keeping only a few, and ultimately abandoned the plan to present them to the temple.

I traveled to Kyoto to work on painting onto tea bowls. Initially, I intended them for Daitoku-ji Juko-in, so I began by using the same color scheme found in the temple's main hall: a white waterfall set against an ultramarine background. However, the work did not go as I had hoped; I discarded the majority of the pieces, keeping only a few, and ultimately abandoned the plan to present them to the temple.

I produced hundreds of pieces, yet only a few were acceptable enough. Daitoku-ji Juko-in is a Zen temple with deep ties to Sen no Rikyu. Having viewed many masterpieces and sensed the profound depth of this world, I am keenly aware of the shortcomings in my own works.

I produced hundreds of pieces, yet only a few were acceptable enough. Daitoku-ji Juko-in is a Zen temple with deep ties to Sen no Rikyu. Having viewed many masterpieces and sensed the profound depth of this world, I am keenly aware of the shortcomings in my own works.

I am working with the technical staffs at Otsuka Ohmi Ceramics—a world leader in ceramic panel production—to create a mural for a newly constructed school building at Tamagawa Gakuen in Tokyo. We began by verifying the colors; once I gave the go-ahead, we moved on to full-scale production. I was deeply impressed once again by the company's technical excellence, as they were able to produce the exact colors I had envisioned right away. I am looking forward to the actual production phase.

I am working with the technical staffs at Otsuka Ohmi Ceramics—a world leader in ceramic panel production—to create a mural for a newly constructed school building at Tamagawa Gakuen in Tokyo. We began by verifying the colors; once I gave the go-ahead, we moved on to full-scale production. I was deeply impressed once again by the company's technical excellence, as they were able to produce the exact colors I had envisioned right away. I am looking forward to the actual production phase.

The byobu with colorful waterfall—one of two works which are commissioned by the Tokyo National Museum—originated from a question: what have struck with awe by the people of the Asuka period when various cultural artifacts and goods arrived in Japan from the west? I selected dozens of color palettes spanning the Sasanian Empire, Gandhara, India, and China, and worked to determine the best combination.
I began on the black-and-white "Waterfall" piece. This work was conceived as a counterpart to a color piece—which sought to give form to continental influences—drawing inspiration from the concept of a divine dynamic underlying all things; a concept that emerged when ancient Shinto, indigenous to Japan, was organized following the influx of various advanced civilizations and cultures from the continent.
This series is rooted in the concept of *Kannagara*— Shinto belief that all forms are the work of the divine. I approach the task by accepting the forms that emerge naturally as precious and sublime, seeking to capture them in a way that honors their inherent character. The stark contrast of forms in black and white—much like the colorful imagery of waterfalls—reflects my long-standing artistic pursuit of finding beauty in the forms of nature itself.
I traveled to Kyoto to work on painting onto tea bowls. Initially, I intended them for Daitoku-ji Juko-in, so I began by using the same color scheme found in the temple's main hall: a white waterfall set against an ultramarine background. However, the work did not go as I had hoped; I discarded the majority of the pieces, keeping only a few, and ultimately abandoned the plan to present them to the temple.
I produced hundreds of pieces, yet only a few were acceptable enough. Daitoku-ji Juko-in is a Zen temple with deep ties to Sen no Rikyu. Having viewed many masterpieces and sensed the profound depth of this world, I am keenly aware of the shortcomings in my own works.
I am working with the technical staffs at Otsuka Ohmi Ceramics—a world leader in ceramic panel production—to create a mural for a newly constructed school building at Tamagawa Gakuen in Tokyo. We began by verifying the colors; once I gave the go-ahead, we moved on to full-scale production. I was deeply impressed once again by the company's technical excellence, as they were able to produce the exact colors I had envisioned right away. I am looking forward to the actual production phase.