Artist Statement:

My work explores fear and coping, deeply rooted in my experience as a bi-racial Japanese American. We all grapple with fear, from everyday anxieties to profound existential dilemmas. By delving into introspection and considering the broader historical context, I aim to shed light on societal issues and universal fears. Edo-period mokuhanga prints and traditional Japanese craft are my primary inspirations. They are a bridge to my cultural identity, which I have often felt disconnected from as an American. I am particularly attached to the work of Utamaro and his depiction of women in interior spaces. Artwork from this period is recognizably Japanese and is a major contributor to the progression of western art in the late 19th century. As an American, I am constantly evaluating how my work and identity fit into the context of Japanese imagery in western culture.

                  My practice addresses, printmaking, drawing, painting, sculpture, and installation as a means of communication. No method is unapproachable or off-limits if it has the ability to add necessary context. By combining the abstract style of Edo period figures with the graphic quality of print, I highlight American consumerism and its objectification of non-white bodies. This work also grapples with what is considered appropriation versus cultural exchange and appreciation I am continually mindful of my family’s experience in Japanese Internment camps and am committed to keeping that history alive within my work.

            Isolation and liminality are depicted through solitary figures and segmented compositions. Segmentation also creates an ordered structure in which topics are neatly contained. It illuminates the absurdity of trying to control something primarily out of our hands. Often, historical references are depicted in drawn or painted renderings to place those objects in relation to Western art. These historical elements are juxtaposed with abstracted imagery of similar subjects to reiterate the persistence and repetition of history. The act of wishing is an important and complex concept within my practice.  

                  At present, I am pushing the boundaries of my practice by experimenting with new techniques. I am exploring the application of screen print to 3D surfaces and the use of printed elements in a sculptural manner. This allows me to capture multiple literal and conceptual perspectives. For example, by incorporating traditional shoji and lantern shapes, along with a light source, the work presents a dynamic interplay between illumination and shadow, between what is seen and what is hidden. I am interested in the juxtaposition of materials and imagery to conceptualize how two disparate ideas can take on a similar meaning.