What are your earliest memories of appreciating art? What do you remember seeing that made an impact early in your life?

There were a lot of art books in my parents’ house, so I remember making hands out of clay after seeing Rodin’s hands, and copying one of my favorite Picasso paintings, Girl before a Mirror. Those memories are from elementary school. But the biggest impact on me was Dali’s The Persistence of Memory. It haunted me for a very long time.

When did you know that you would be an artist? Were your parents supportive of this ambition?

Probably in the last year of high school. And yes, my parents were supportive.

The figure “standing” on their hair is a repeated motif in your work. What do you think motivated you to invert some of the sculptures?

It was to see things in a different way. A position that is out of the norm creates different viewpoints, which may lead us to see and feel the true nature of human beings. Also, we feel our physical weight because gravity pulls us towards the earth. I thought that if I removed that, what we would have left to feel is perhaps the weight of life.

I see the influence of ancient statuary in some of your work. Is this true? Which eras or artists from the history of sculpture are influential to you?

I admire many ancient Japanese artists, including Unkei and sculptors from the Kei school from the Kamakura period (1192–1333), especially when they emphasized realism over tradition. One of my favorite places to see ancient sculptures is Kodo Hall in Toji (East Temple) from the Heian period (839). The statues inside Kodo Hall were also restored by Unkei during the Kamakura period.

You’ve mentioned elsewhere that you were inspired to become an artist by thinking about mortality. What are your thoughts on mortality today?

The entire world is going through a pandemic causing immense pain and suffering. And now I am heartbroken by the Russian invasion of Ukraine that is taking so many precious lives and causing unspeakable tragedy. Nothing seems certain; the peace that we have never seems to last, and our lives are transient. It is difficult to confront mortality when living itself is already a hardship. But I would like to think that our limited life spans create depth in our lives and intensify the moments we have so that each unique life is profoundly meaningful in its existence.

Do you have a personal conception of the afterlife?

I think that the body and mind are separate entities but won’t exist without one another, so when I return to earth, “I” do too.

What is an example of some lessons you’ve learned from Zen?

To have a view that breaks free from the constraints of society, to disentangle from attachment, and to discard preconceived notions.

What is the roji’s primary purpose in the tea ceremony? And what are the benefits of taking part in a tea ceremony?

The roji is used as a tool to cleanse one’s heart and mind of the dust from the world, so that what seems to be a simple act of drinking tea is no longer just about drinking tea. Entitling this exhibition Roji does not mean that viewers go through a ritualistic experience. Instead, it represents my experience of creating art as if I have been walking through such a place, a roji, and seeking the true nature of humanity.

I’d like to ask you about a couple specific works if you don't mind. What can you tell me about Untitled No.15, for example?

That piece is from 2015. It shows a struggling man on top of rusted musical instruments, which may stand for peace or people’s voices. They are depicted as dying, though some shiny gold parts suggest they may be still revivable, as hope. It is a song for dying instruments.

And what about Maquette No. 7?

That’s from 2013. The figures carry stones on their heads, which may refer to the burden of life and express the feelings of hardships as they continue their journey no matter what comes in life.