Pareidolia is our human tendency to impose patterns onto random visual stimuli—optical illusions that include the likes of a perceived face on a wall or the outline of a rabbit on the moon. The colors and forms that emerge unconsciously in my painting reveal familiar faces, acquaintances, places I have lived in the US and Japan, and other landscapes I often come across in my dreams. Dream and reality, body and image, Japan and the US, mother tongue and acquired language—I create work from this “in-between” space between two elements.

As a former ballet dancer, I’m interested in how paintings can also take up space as moving bodies. Set within gallery yolcha’s intimate architecture, static wall paintings are juxtaposed with moving translucent fabric paintings. As the fabric breathes with the wind, mimicking that of dancers moving, Pareidolia seeks to create a space conducive to daydreaming so that viewers can seek out imaginative landscapes and figures emerging from the paintings.


「パレイドリア」は私たちが視覚刺激から、人物、動物、顔など、心に浮かび上がる幻想を見る傾向。建物の壁に顔や、月の中にいる兎や。私が絵を描くとき、筆から無意識で出てくる色や形からは、身近な顔、 知り合い、日米それぞれで住んできた家など、夢の中で存在するものが見えてくる。夢と現実、身体とイメージ、日本とアメリカ、日本語と英語、必ず２つの要素の「間」を漂っている場から描く。

そして、過去にバレエダンサーとして活動していた私には「身体」への意識も残っている。バレエをやめた作家として今でも興味があるのが、描いた絵画が「身体」として、それも「動く身体」として存在できるのか。ヨルチャでは雲を眺めるように、風と一緒に踊る絵画から鑑賞者の心に様々な残像を浮かび上がらせたい。

Paintings: 
Glissant’s imaginaire (2023)
After Ozu (2013)
Untitled (still from the Power of the Witch, 1971)(2015)
Buddha bone (2019)
between a bee and a fox・狐と蜂の間 (2022)

Nostalgia(動く身体)
3 min 3 sec
2022

Paintings:
Astoria (22-11) (2015)
1995 | 2009 (2015)
Dad・お父さん (2017)
Weird Fishes (2023)

Paintings:
Circus (2020)

“white shadow-shroud” ・『白い影の覆い』(2023)
braiding in the river (2023)