PRACTICE
My practice treats painting not as representation, but as a research device through which the conditions of vision are tested.
Painting as Research
Painting functions in my practice as a research device rather than a means of representation. Each work tests specific conditions under which vision is organized, normalized, and made to appear natural. Through the controlled manipulation of visual regimes—such as line, contrast, and spatial structure—the paintings operate as experiments on how images acquire authority. A work is considered successful not by aesthetic resolution, but by whether it exposes the institutional logic that governs seeing.
Exhibition as Essay
The exhibition itself operates as a form of argument.
Selected Solo Exhibitions
Cinematic, Contemporary Art and Spirits (CAS), Osaka, 2025
An Aesthetic Questioning of Modernity, CAS, Osaka, 2024
Peripheral Sentiment, Noon Consulting Art, Brussels, 2023
The Art of Fugue, CAS, Osaka, 2023
Selected Group Exhibitions
Clouds of Abstract Information – Winds from the West, Winds from the East (Bath Spa University & CAS Exchange Exhibition), Bath Spa University 2025, CAS & +1art, Osaka, 2024
UNFAMILIAR AGENDA (Japan–Korea Exchange Exhibition), CAS, Osaka & Space TOGO, Seoul, 2024
Human and Space (Art unites the world), Palazzo Pisani-Revedin, Venice & Noon Consulting Art, Brussels, 2024
East–West (Art unites the world), A Living Museum, Brussels, 2023
Hyakuyou (Japan Week in Barmstedt), Germany, 2023
CAS is an artist-run space in Osaka functioning as a counter-institution and a platform for experimental practices.
Propositions
Vision is never neutral. It is shaped before it is used.
The image is not the object. It is the institution acting.