Prior to taking your Masters in Art, you studied at the Prosthetics and Orthotics Department of Kobe College of Medical Welfare. How do you think this has influenced your approach to your art, and your exploration of skin and hair? In my work, hair is often paired with artificial skin. If I’m honest, at the time I didn’t have a concrete vision of how I would develop my career as an artist, but I did have an idea of what I wanted to produce in the first place: a series about skin. As I finally started to develop the series, I realized how unsettled our perception of skin is. We refer to skin as a dividing organ; the border within which we reside. However, our visual recognition of it is so dependent on all the elements relating to it – most notably hair. Our perception of skin is very much supported by the presence of hair, as can be seen when hair is shaved off and the skin suddenly looks unfamiliar.
With works such as Untitled (Football) and Untitled (Canvas) what is your intended response from the viewer? To me, my work implicitly forces the viewer to project their own thoughts on the represented things. It’s a mirage in a way. One finds the thing they desire in the mirage. In works such as Untitled (Football) and Untitled (Canvas), skin is treated as a mere material. Associated with the significance of the object – the surface of which is replaced by a skin, the works quietly enable the viewer to respond according to their own idea of skin.