Using multiple layers that include distorting images with a scanner, my practice involves re-collaging, drawing and then painting to achieve the final work. Through these processes, unconsciously the images are altered to something unexpectedly uncanny. When painting the distorted forms, the colour becomes delicate and complex through many layers. Two types of perspective are used; one type of perspective is developed through the use of colours and the other perspective is achieved by lines such as one-point perspective or two-point perspective. Particularly perspective using lines can also be a futuristic visual presentation suggestive of a technological image like computer graphics or virtual reality.
My addiction to the colour blue is a yearning towards its alchemy and that it evokes silence and intensity at the same time. It is also used as the colour that represents ‘equality’, which is not associated with any specific racial skin colour. Blue also calls to mind ‘peacefulness’ or ‘serenity’ in colour psychology.
The city environments of Tokyo and London where I have lived, have influenced my art practice. These experiences have led me to consider the relationship between constructed and fabricated space, and how the human body interacts with urbanised space. In particular, the cyberpunk atmosphere in Tokyo affected my attachment to high contrast in pictures, as the relationship between positive space and negative space is similar to the neon lights of the red light district at night. Surrealism is a natural outcome for the human figures in my works, since we are subconsciously conscious of our bodies. Wherever we live, our relationship to our body is inescapable and is also related to social issues, human relations, racial and gender equality. The locating of the female body with how the body can be traumatised reflects my own personal experience and is central to my studio practice. I am interested in how to communicate effectively and represent the female body within confined urban spaces.