Like ‘The Robot City’, this work is also based on a drawing of a robot from a sketchbook I created in 2007. Compared to my other works, this piece is more raw and instinctive, with expressive brushstrokes that reflect intense emotion.

The composition features multiple rooms with windows, yet no human presence can be found. Instead, a lone figure—neither entirely animal nor human—stands, isolated. The robot’s outstretched hand reaches beyond the canvas, grasping for something unattainable.

This work, titled ‘Untitled’, does not merely lack a name—it actively resists definition, mirroring the uncertainties and ambiguities of modern existence. It reflects the anxieties, fears, loneliness, and sense of disconnection that pervade contemporary society, embodied through the figure of the robot.

By resisting a fixed meaning, it allows the viewer to engage in their own exploration, tracing the contours of emotion that emerge from its silence.

Within Afro Rabbit’s afro hair, small birds have built their nests, living peacefully.
However, this peace is suddenly shattered when a wolf-like puppet opens fire, destroying everything in its path. The birds cry out in terror, their mother desperately shielding them from harm, while the wolf looms menacingly —but here, a question arises.

Why does the wolf attack the birds?
Is it because they settled in the afro hair without permission? If so, does that make the birds guilty as well?
And what about Afro Rabbit? It holds both the mother bird and the wolf in its hands. Is it merely an observer, or does it silently manipulate the chaos unfolding before it? What is its true intention?

Birds, the wolf, Afro Rabbit—our perspective on this scene shapes the boundary between good and evil, constantly shifting our understanding of justice.

‘The Absurd World’ is, at its core, about questioning and confronting our own perspective in the face of life's inherent irrationality.

What do we believe in? Where do we stand?

In the past, Japanese society forced women to choose between "career" and "marriage." Though times have changed and options have expanded, deeply rooted biases and rigid expectations of what a woman "should be" still persist. Around the world, many women continue to face oppression, while movements seeking to erase gender diversity and revert to outdated values gain momentum.

A designer logo in her gaze, a heart in her hand—symbols of ambition, power, and love. These are not contradictions but choices, freely made. Criticism, contempt, and slander may follow, but she walks the path she believes in.

‘Modern Portrait’ captures the strength of modern women who refuse to conform, break free from societal expectations and oppression, and define their own existence.

War, abuse, and countless injustices engulf the world. In the midst of this chaos, the first to fall victim are the innocent children—symbolized by the small rabbits being carried away into the sky. At the center stands an adult rabbit, feeling an emptiness carved deep within its chest. This void is the scar left by the loss of innocence—a lingering ache from a time when it was still pure and untainted. 

Growing up means coming to terms with the harshness of reality, and in doing so, we inevitably lose the light of our innocence.And perhaps, in that loss, we become colder, even unknowingly capable of cruelty.

‘Good Bye Dear Innocence’ poses a question: 

Where is your innocence now?

The deep sea is home to mysterious and unknown life forms. Inspired by this enigmatic world, I have depicted fish with rabbit ears.

These fish were once ordinary, but after consuming rabbits continuously, they gradually took on rabbit-like features themselves. They absorbed others, transforming into something identical—where differences are eliminated, and uniformity prevails.

This reflects the rigid social mindset in Japan, where the saying "The nail that sticks out gets hammered down" still holds strong. I have projected this societal phenomenon onto the deep sea, a surreal and otherworldly realm.

‘In the Deep Sea’ raises questions about identity while visualizing the pressure of assimilation and the ironic transformation it imposes.

This work is based on a robot drawing from a sketchbook I created in 2007. The countless cables extending from the robot’s back were inspired by the early days of computer networks. These cables connect to the buildings attached to its back, gradually spreading and enveloping the entire city.

Within the buildings, lined with countless windows, human lives are converted into data. As the robot absorbs this data, it grows—its intelligence and power expanding. Yet, despite lacking emotions, a trace of unease appears on its face.

What is it reaching for?

As AI and technology continue to evolve and take control of cities, what do we gain, and what do we lose?

‘The Robot City’ explores a society engulfed by information and questions the future that artificial intelligence is shaping.

One half of a heart stares straight at its counterpart, while the other half gazes in a different direction. Their eyes never meet, passing by each other in silent disconnection. A hand reaches out, as if grasping the other’s heart—but is this truly love, or merely an impulsive reaction?

Love flares up with intensity, then cools, shifting and wavering. It carries within it not only passion but also resentment, obsession, and anger—pulling two souls together, then pushing them apart, only to draw them back again. And yet, they are always searching, endlessly seeking that missing half. Only in losing love do we come to understand its true magnitude.

‘Zukyuun Bang Bang’captures the fragility and strength of love, portraying its contradictions and complexities.