My concern is on time rather than on space, so that I become interested in the irritation I feel watching things change every minute, and also interested in the memories of images already lost. Meanwhile, my sense of body is also changing every minute, and I become more interested in what changes things suffer in their appearances according to the change of my sense of body, and interested in their duration itself in spite of the change.
When I watch plants die, although I do not know when they start and end their death, some unknown performance is given moment after moment more intensely and minutely than my superficial idea and composition have expected. It matters how I can become its catalyst, and the edge-conflict between time and body leads me to draw the intimate map of the already lost time where they represent themselves.
The little reverberations of coversation and vulnerable expressions repeat themselves in the deep memory and leave unknown-colored light and scent behind.
Excert from ⁽The Basics of Drawing⁾（Natsune Publishing Co,Ltd.)
Translated by Tooru Sato