My work explores the balance between form, kinetic energy, and spatial simplicity. Raised with roots extending from Tokyo to Prague and Hiroshima, my practice integrates Eastern artistic principles—where movement, emotion, and negative space dictate the composition—with Western material techniques and structural discipline.

Holding a B.S. in Chemistry alongside training in Studio Art and Art History from the State University of New York at Albany, I approach mediums with both technical precision and intuitive response. This background informs my manipulation of physical media, whether controlling pigment interactions in water-based painting or understanding structural dynamics in dimensional sculpture.

At the core of my practice is a rigorous focus on the human and animal form. Through observational portraiture in drawing, painting, and clay sculpture, I seek to capture the essential spirit and posture of the subject rather than mere surface representation. Teaching courses centered on “unlearning and unseeing” reinforces this methodology: stripping away habitual visual assumptions to reveal raw movement, anatomical truth, and genuine emotional presence.