Threads of Continuance

I work with the traditional materials of Nihonga — sumi ink, ground mineral pigments, and gold leaf on washi and kozo paper, often mounted on wood panels. These materials carry within them a slow time, a memory of place: pigments derived from coral and stone, paper made by hand, gold leaf laid layer by layer.

Trained in Kyoto under the Seitōsha school of the Shijō-Maruyama lineage, my practice continues to evolve at the intersection of classical technique and contemporary sensibility — exploring questions of continuity, memory, and the quiet ways that vital energy moves through the world.

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