My duo exhibition with artist Blandine Bardeau is coming up soon!

Opening Hours

Thur. 6 Feb 5-9pm Opening Night

Fri. 7 Feb 12-7pm

Sat. 8 Feb 11-4pm

Sun. 9 Feb 11-4pm Breakfast & Sculpture making activities

How to get The Handbag Factory

During my three weeks residency at Joya, I felt a profound sense of freedom and possibility. Immersed in a dry and barren landscape, I discovered the resilience of life—the strength and ingenuity of nature as it adapts to harsh conditions. This experience has deeply influenced my current body of work, where I incorporate elements from wild nature both in the materials I use and the way I present my creations.

For this exhibition, I explore the cycles of grief, loss, and renewal through sculptures made from found natural materials and paintings that reflect on these themes. In the depth of winter, where many beings in nature become dormant or die, I find a poignant reminder: life’s beauty is intertwined with its impermanence. In the dark winter landscape, ephemerality and reminiscence of life in wilting plants remind me of hope and radiance. Grief, like winter, can feel barren and still, but within it, there’s also space for growth, transformation, and reverence for what was. When there is an ending, there is a beginning. This fragile yet resilient cycle forms the foundation of my work.

Though the world is increasingly heavy with sad news, my time at Joya reminded me of the flip side of loss: the hope and possibilities that emerge from adaptation and renewal. In this show, I invite viewers to reflect on the inherent beauty of life’s cycles, the radiance of what remains, and the hope that springs even from the barren

I came here with one thing in my mind - be free. Free from the routine, free from all the different responsibilities I have as a parent, wife, daughter, and sister. As an artist, I wanted to be here free from the preconceptions of my practice. This opportunity to be free from time constraints and responsibilities has been truly special. I see my art practice as my child always fighting for my attention but of course, a real child takes priority in my daily life.

I grew up in Japan where animism and reverence for nature is still more prevalent than religions. Shintoism is more of a way of life than religion. Everything has spirits. Not only natural phenomena like earthquakes but also unexplainable events or mysterious incidents are acts of many spirits who can be mischievous sometimes. The spirits are revered and celebrated through rituals and festivals. These ideas permeate Japanese popular cultures like Pokémon to Studio Ghibli animations as well as traditional Japanese aesthetics. I have lived outside of Japan for more than half of my life. However the way I relate with my environments is still influenced by the way of life that derives from Shiontoism and Buddhism.

I came to art as my second career. Having worked in an intense long-hours office job, I was desperate to find myself and reconnect with the environment through art. It was about 10 years ago when I went back to study at Camberwell College of Arts.

My practice is painting/ printmaking with intuitive mark making that is inspired by my connections with the environment esp intangible and mysterious forces at play in this world. I believe there are many things that humans cannot sense but other beings can and so much more wonders than we can conceptualise - They are the space we can grow our imaginations. Empathising with other beings and seeing the world with curiosity is important for me as a parent. Having the opportunity to see the world through the eyes of a child is inspiring.

I heavily rely on intuition and spontaneity. I choose processes that are less controllable and prone to accidents so I have a feeling of collaboration with forces other than my own will. I see my work awakening as I reveal shapes and images. I also play with our patterning instinct. Sometimes my image looks like familiar creatures, plants, landscapes etc.

At Joya, I started with an open mind and hardly any plan. I built a little shrine that I visited every day to help me to build relationships with unfamiliar environments. I found several objects that drew my attention and brought them back to the studio. Applying my usual intuitive ways of making I enjoyed creating sculptures with the found objects and materials on site. I began to think I like to give more presence and agency to my work by treating them as animate objects. The experience encouraged me to experiment with the ways to display my work —perhaps integrating sculptures with images, displaying them in natural environments.

Working away from my studio, free of distractions but within certain limitations, was liberating. It allowed me to follow ideas as they arose, resulting in playful and joyful creations like I do at nature play I facilitate for children.

These three weeks have been transformative and given me a jumping-off point for my practice. This time has not only nurtured my creativity but has also deepened my connection to the forces and inspirations that drive my practice.