Background

Humans often understand nonhuman entities by likening them to people — anthropomorphism. This work began with the reverse question: if objects were to understand humans, what kind of forms would humans take from their point of view?

Assuming that objects such as computers, chairs, and intercoms each have different modes of contact and different worlds within the same living space, the work attempts to invert a human-centered perspective.

Concept Development

I call the act of things understanding humans by analogy with things “objectification.” This series imagines the artist’s body and movement as seen from objects in a room, and presents those imagined forms as kinetic sculptures.

The human figure was reconfigured from multiple viewpoints, including those of a computer, ice cream, bread, a bed, tea, glasses, a hair dryer, lighting, an intercom, and face mites.

Production Process

I observed relationships between everyday objects and people, extracting the body parts and human movements with which each object comes into contact. These were translated into different forms and movements, and realized as multiple kinetic sculptures using Arduino, servo motors, stepper motors, discarded objects, and other materials.

Background

The work grows from an interest in the boundary between living and nonliving matter, and in what it means to be born as an individual. It imagines nonhuman entities performing human birth.

Rather than having humans narrate their own birth, the work asks what the event of “birth” might look like when performed by beings that are not human.

Concept Development

This study treats light-responsive DNA droplets as nonhuman performers. By observing the movement of the droplets themselves, it explores how the story of human birth might be entrusted to nonhuman agents.

Production Process

With scientific collaboration and technical guidance from the Takinoue Laboratory at Institute of Science Tokyo, the project uses light-responsive DNA droplets as material and develops the work through observation of their behavior. At this study stage, it examines the relationship between droplet movement and theatrical composition.

Background

In cell culture, the conditions for survival and proliferation are shaped not only by the cell type but also by the surrounding environment, including culture medium and serum. The work begins by reconsidering the boundary between human and fish through combinations of cells and culture environments.

Concept Development

The project attempts to recreate the flesh of the mythical mermaid through cell culture. By juxtaposing three conditions — human-shaped, fish-shaped, and mermaid-shaped — it asks where the categories “human,” “fish,” and “mermaid” come into being.

Production Process

Three culture conditions were established: human cells with fish-derived serum; fish cells with human-derived serum; and alternating cultures of human and fish cells. These were assigned respectively to human-, fish-, and mermaid-shaped vessels and grown in a gel-like medium. The continuing culture process during the exhibition itself was presented as part of the work.

Background

The project began with the question of what could actually be exhibited on the Moon under constraints unlike those on Earth, including transportation cost, weight, and scale.

It also imagines an unknown intelligence in the future, rather than humans, as its audience, and considers how traces of life that once existed on Earth might remain.

Concept Development

The project proposes an unmanned exhibition in which numerous 0.5 mm micro-sculptures containing animal genetic information are carried to the Moon in a satellite modeled after Noah’s Ark and released onto the lunar surface.

If they are discovered after humanity is gone, the sculptures are intended to function as a memory device for life on Earth.

Production Process

Thirty animal species were produced as micro-sculptures, one male and one female of each, for a total of sixty. In March 2024, a concept video was filmed in a lunar-surface test field at the JAXA Space Exploration Innovation Hub. DNA-containing sculptures were produced in June and exhibited in December. In 2025, DNA was embedded in the sculpture gel and a verification test was carried out to identify the animal species from the DNA recovered from the sculptures.

Background

The work began with a thought that emerged from living with many kinds of creatures since childhood: even when looking at the same thing as a human, another creature may recognize it as something with an entirely different meaning.

For example, to a dog an intercom may not be a machine at all, but an “alarm” signaling that a stranger is arriving.

Concept Development

This installation imagines how “things” in a shared living environment may have appeared and what meanings they may have held for the creatures with whom I have lived, translating them into meanings other than human ones.

Production Process

Ready-made objects such as a plastic cabbage food model, intercom, aquarium, blocks, shutter, letters, and memo pads were selected and reinterpreted from the viewpoints of particular creatures. Multiple translations were placed in the same space, presenting the shared living environment of humans and other creatures as a collection of different meanings.

Background

This study began from an interest in imagining the perception and movement of an octopus — a body radically different from the human body — from within my own body. Rather than representing an octopus from the outside, it considers actions and devices for “becoming an octopus.”

Concept Development

The work is composed of a series of études that introduce different movements and sensations into the human body. Rather than creating a finished image of an octopus, it treats the process of approaching a different kind of body as the work itself.

Production Process

A series of prototypes were made using heterogeneous materials and tools, including 3D prints, sculpture, tights worn on the body, shells, a keyboard, an octopus pot, clay, and paper, in order to alter bodily movement and sensation.

Background

This work was made as an attempt to imagine how the human figure might appear from the perspective of an octopus, a being with a body radically different from ours.

Concept Development

The work expresses “a human as seen by an octopus” not by reproducing the human figure as it is, but by translating its movement and form according to a different set of rules.

Production Process

Rubber, motors, 3D-printed parts, 4WD tracks, and other components were combined through electronics and sculptural fabrication to prototype devices and movements that transform the image of the human body.

Background

The orbits of the Sun, Earth, Moon, and artificial satellites exist in three dimensions. When projected onto a two-dimensional screen and viewed from different angles, unexpected line forms appear.

Concept Development

“Orbital Font” extracts lines that appear alphabet-like when three-dimensional orbital trajectories are viewed in two dimensions, and reconstructs them as a type system from A to Z. By changing viewpoint, the work discovers different forms within familiar data.

Production Process

Using Orbit-Drawer, a general-purpose orbital drawing tool developed by the Orbital Art Laboratory, orbital data were observed from a variety of viewpoints and angles to extract forms readable as letters. The resulting characters were catalogued and developed across media including fabric.

Background

Invisible environments and structures surround Earth and affect the conditions of our lives. The work was developed while searching for a bodily way to perceive this invisible space environment.

Concept Development

A work that outputs the form of the Van Allen belts surrounding Earth as a three-dimensional object, translating the condition of being “protected by something invisible” into a tangible form.

Production Process

Three-dimensional data were created from the form of the Van Allen belts and output as an object approximately 20 cm in size using a 3D printer and 3D milling machine. Wood and fabricated parts were combined to present an invisible space environment as a physical object.

Background

The immense distances of space are difficult to understand directly through human bodily perception. By translating astronomical values into another sensory form, the work attempts to reconsider where we are in the universe.

Concept Development

Using stellar data from the Hipparcos satellite, this work converts the distances between Earth and stars into sound. It translates cosmic distances that are otherwise encountered only as numbers into a temporal and auditory experience.

Production Process

Distance information between stars and Earth was taken from Hipparcos satellite data and converted into sound using Processing. By making differences in the data audible, the work presents a relationship between cosmic scale and our present location.