Statement of Hiroshima series


I was born in Yamaguchi prefecture, mere miles away from Hiroshima, just five years after bombing in 1945. 140 thousand people died from bombing of Hiroshima, between the immediate blast and

associated health effects that came later. At the time, Japan proclaimed the loss of so many as ‘death for the honor of war’ in tribute to those who had died.


In a homogeneous society like Japan, most people do not voice their unique opinion but rather support the general public opinion despite personal disagreements. In 1941, the general public decided to go to war and therefore everyone worked for the war, fought for the war, and died in the war. No one questioned their actions but supported their country.


As a result of the atomic bomb dropped on Hiroshima, Japan turned to Democracy, an individualistic form of government foreign to Japanese culture. However, nowadays, despite the Japanese constitution’s insistence on democracy and anti-war policies, Japanese government again turns towards war. Broad governmental agencies and leadership continue to shift Japan’s anti-war constitution toward totalitarianism. How can they have forgotten all those who have died and suffered?


When I was a child, my mother told me about radioactive rain falling and when I was 7, I watched the film “One Thousand Paper Cranes” (1958). The film details the life of Sadako Sasaki, a young girl not much older than me at the time, and her fight with leukemia onset by her proximity to Hiroshima. These memories remain indelibly entrenched into mind from childhood.


After 74 years, people have forgotten Hiroshima even though the politics of Japan are deeply indebted to it. In my work, I say “NO WAR and NO NUCLEAR”! From “the Tragic Chair”, in which I depict the recorded horrors of the bombing, to “Canna in the Scorched Earth”, in which I depict the persistence of nature in a nuclear wasteland, my work seeks to remind, engage and re-invigorate the emotions of that day. I am not satisfied by only voting; I must elevate these issues in my art. My work, “Still Alive Hiroshima” depicts a shelf laden with reminders of our past and text highlighting our current political atmosphere. Inspired by Liz Magor and Jenny Holzer’s prose, I wish my work to be both politically and visually arresting.


I have a responsibility as a person who has experienced the effects of Nuclear War firsthand to promote and make visible the past so that it won’t become Japan’s future. We must uphold the remembrance of the past! Art is my form of protest and my way of keeping the past alive.


                                                                                                                                     Aug. 2020







75年後、日本の政治は平和憲法に深く依存しているにもかかわらず、人々は広島を忘れています。私は作品の中で「NO WAR and NO NUCLEAR」と言っています。原爆の恐怖を記録した「悲劇の椅子」から、核で破壊された土地での自然の永続性を描いた「焦土のカンナ」まで、私の作品は、あの日の感情を思い出させ、関与させ、再び活性化させることを目指しています。ただ投票するだけでは満足できず、自分の作品の中でこれらの問題を高めていかなければなりません。私の作品「Still Alive Hiroshima」は、過去を思い起こさせるものが詰まった棚と、現在の政治的雰囲気を強調するテキストを描いています。リズ・マゴーやジェニー・ホルツァーの散文に触発され、私の作品が政治的にも視覚的にも魅力的であることを願っています。











Statement of Art Project with the soup kitchen members


I stopped painting in 2018 and started to create works about the atomic bombing. Before the Pacific War, Japan was passionate about mobilizing 100 million people to fight in the war. Even though the people were destitute and without supplies, they supported the government's war effort. Today, 15.4% of the population, or one in six people, is in poverty. This is mostly the fault of the government's employment policies which benefit only the rich. I would say that the Japanese government's attitude that politics is for the benefit of the politicians and not for the well-being of the people is deeply rooted in the days of the Pacific War.


After I finished Hiroshima series, I started the soup kitchen Art Project. Since January 2021, I have been participating in TENOHASI soup kitchen, and interviewing for the participants. At that time, I learned that the participants do not want to receive welfare, even if they are living on the street. This is because there is unreasonable treatment such as dependency enquiries and low-cost accommodation that the government provides. This is a political problem and I wondered if the government is serious about welfare policy.


The problem of increasing non-regular employment due to neoliberalism has been compounded by the Covid-19 disaster, which has led to the cutting of non-regular employees, a reduction in income and redundancies. Many people who are forced to live on the verge of homelessness are lining up at the TENOHASI soup kitchen today. I wanted to hear their voices and give the space for painting, and make them visible to the world. They are not some special people.


In May, I opened a small art space in a corner of the park with the help of TENOHASI and about 10 participants of the soup kitchen painted there. In November, I exhibited more than 20 paintings, texts, drawings, 3D objects and my works in a gallery of a facility run by the Tokyo Metropolitan Government. The exhibition title was “Listen to the voice that had never been heard”. I exhibited captions that described what they expressed in pictures and who they were with art pieces. And I also exhibited many texts that was written by the members and me. We brought the present situation in the government to the audience.


I was very encouraged by the response of the audience to the concept of the exhibition. I would like to continue to share my collaborative work with the buried voices of the people and change people's stereotypes, social conventions, and the government’s welfare policy.


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                                                                                                             11月, 2021