Q. First of all, would you tell us about your teaching and work profile?

Yes! I am a graduate of Musashino Art University, Department of Painting and have been showing my work in solo and group exhibitions – – while working part-time. Recently, I have been teaching watercolor painting at a cultural art school and I am also showing my work in solo exhibits!

Q. It seems that many of your works feature flowers. Is there a specific motivation for this? Also, please tell us what you think is the allure of watercolor painting.

I guess the reason is that I like flowers! I also like to grow them in my garden or on my balcony… I often go outside to do sketches, and when I do, my eyes are drawn more to the flowers blooming at my feet than to the landscape. And, I often create works of art with them. So…I tend to end up with a lot of flower paintings!

―What do you think about the appeal of watercolors?

I think the greatest appeal of watercolor painting is that you can leave it to the water. Or rather, that the movement of the water creates a coincidence (fluidity)! I try to bring that charm out in my paintings.

Q. The depiction of the dewdrops floating on your flowers is very beautiful in your paintings. Is there a special technique for drawing this? Also, what details do you pay attention to in terms of color?

It’s not so much a technique, but as I mentioned earlier, I like to “let the water do the work and leave it to the flow of the water!” I think “coincidence (fluid randomness)” is an interesting characteristic of water color as a painting medium. I think the characteristic of watercolor is that it is interesting by chance! So, I let the water flow, pour paint on it, and mix it! I am inspired by the shape of the watercolor, and that is how I create my works. The depiction of water droplets, etc., is just a conventional drawing (what I draw normally). But, I think, the fact that it looks so fresh is due to “coincidence with the flow of water.”

Q. I think each of your works must be filled with your feelings and thoughts. Would you tell us about your most special work and the meaning or message behind it?

The dandelion piece called “ITOYU” is my favorite piece of artwork at the moment. I think everyone has childhood memories of dandelions. I also have many memories of picking dandelions when I was a child – playing with them – and doing this with friends and parents. I created this work with the imagination and hope that each of you will recall the dandelions in your memories and that you will remember the warmth and tenderness of the dandelions and weave them together. I created this message hid in the flowers!

Q. You mentioned that you use Daniel Smith watercolors, how do you like the pigments?

They are truly wonderful! Each pigment has its own distinct character and “stands out.” I can really feel what it is like when I use it (as a sense of expression), which makes it a lot of fun to use! I especially like the Ultramarine Blue, which I use a lot, and I can see the graininess and granulation. It has a beauty that reminds me of the mineral pigments used in Japanese-style painting! I used a lot of Daniel Smith’s paint in my recent solo exhibition, and it had such an impact on me. It was so influential that people said, “My paintings have changed!”

Q. Would you tell us about your favorite art painting materials and colors, including those other than Daniel Smith?

My favorite – It’s Daniel Smith’s Ultramarine Blue. I also use cobalt teal blue and those are pretty much my main colors. I also use Winsor & Newton’s Lemon Yellow and Winsor Green, which are pretty loud and flashy colors, for the undercoat. And then, I use heavier paint on that. I also have a favorite brush for Japanese painting, which I cannot live without! A Japanese long bristle coloring brush called ChohoSaisiki-fude made by a company called Miyauchi Fukyudo. I paint almost exclusively with this brush!

―When you say the brush for Japanese painting – – Is it a little expensive?

It’s about 2000 Yen (Approximately $15.00 USD) with the exchange rate JPY140/$). I have several of them and I use them!

Q. In your work, I think the transition of color is original and exquisite. Would you tell us any key points in deciding on the color scheme and color mixing?

As I said at the beginning, I use a lot of water! I paint by dripping & mixing, so I try to get the colors to blend together on the surface of the paper. In this case, if I put in too much dark color, the colors will look muddy. So, I start with brighter colors that are relatively saturated and transparent. By tilting the paper, the colors and water blend together to create a coincidence (fluidity). This way, the colors become more complex, but less muddy!

―Will you do that before the preliminary sketch?

Yes, I do! I don’t do a lot of drafting in pencil. I put the paint on the paper first and create a base matiere (texture), and then develop my ideas from there…Like, “Let’s put a dandelion here.”

-I see! You are very creative in the way you make it so original and unique! I thought that you were applying the colors after the rough sketch.

I do it the other way around…I’m the opposite (laughs).

Q. Approximately how long does it take to complete one work?

It depends on the work. I pick up on such coincidences (possibilities), so if all goes well, it can be completed in one day. But for larger works, it takes time to add the colors… I tend to over paint, so in order to avoid that – – I intentionally leave the work for a year and let it sit for a year. So, sometimes I draw it in over a year!

Q. What kind of preparations do you do such as esquisse (outline or sketch)?

I do a lot of sketching. For example, if it is a dandelion, I draw lots of dandelions and combine them in one piece. But, I also, of course make an esquisse. I am aiming for coincidence (possibilities) with accidental water flow in the way I create the work. So, I kind of… just put them around here. I make a few esquisse in yellow, blue or something rough like that, and I just think about where to put the blank spaces. It is very important for me to think about where to bring in blank space.

Q. Finally, do you have any announcements or event information that you would like to tell us about?

I’m planning to have a solo exhibition next year at Matsuya Ginza from June 21 to 27, 2023. That’s all that has been decided for the moment!