About twenty years ago, a Canadian quantum physicist encountered my work at an exhibition and later wrote me a letter. He even traveled from the Kanto region to Takamatsu City, the Shikoku region to acquire the piece. That work now resides in the living room of his home in Canada.
Our connection has continued to this day, and two years ago he invited me to visit Art Fair Tokyo. During that visit, I stopped by the booth of the Kagawa Urushi Lacquerware Institute and had the opportunity to speak with people involved there. That was when I learned that the prefecture organizes a juried two-person exhibition at the fair. That encounter ultimately led to my participation this time.
From 2011, I stepped away from active production for 13 years to focus on raising my children. I decided that April 2024, when my youngest child entered elementary school, would be the time to return to working seriously with urushi, and I began preparing little by little.
However, once I returned, I realized that a 13-year blank was greater than I had imagined. The year 2024 became a continuous process of trial and error. There were times when my work did not progress as I had hoped, and I was frustrated by not achieving results in juried exhibitions.
Yet, as I prepared for this art fair, I found myself facing my work with a surprising sense of freedom—honestly and joyfully. Immersing myself in making, my doubts faded, and the direction of my future work has begun to take shape. I am deeply grateful to everyone involved for giving me this opportunity.

For this exhibition, I am launching four series as a new step forward: butterfly-shaped boxes, small sculptural objects, panels, and wearable pieces.
I had been preparing Kanshitsu bases for eight butterfly-shaped boxes, and two are scheduled to be completed for this occasion. Alongside the new works, I will also exhibit past juried works, incense containers, and lacquer vessels such as bowls.

I would be delighted if you could see their completed forms at Art Fair Tokyo.

2026.02.03