Suffused

My work explores abstraction as a means of returning vision to its most fundamental condition. By removing elements such as depth, narrative, and predetermined meaning, I create paintings in which color and form remain as primary agents, allowing perception itself to come to the foreground. 

The conceptual origin of this practice lies in the primordial gaze of an infant encountering the world for the first time, before objects are named, categorized, or understood. In this pre linguistic state, color and form exist without hierarchy, function, or symbolic assignment. I understand this mode of perception as a foundational structure of human sensibility, one that precedes knowledge, memory, and interpretation. 

Within my studio practice, I systematically eliminate figurative references and contextual markers in order to isolate the initial sensory impulse that draws me toward an image. This act of reduction is not conceived as negation, but as concentration, a deliberate refinement aimed at intensifying the essential relationships between color and form. Through this process, the painting remains open and resists closure or fixed interpretation. 

The resulting works operate as perceptual devices rather than representations. They do not impose meaning, but instead engage the viewer’s own emotional memory, attention, and imaginative capacity. By redirecting focus from what is seen to the act of seeing itself, my work invites a reconsideration of perception and proposes painting as a space in which vision can be experienced as immediate, embodied, and sensorial

Acrylics on canvas

Tokyo