I am a UK-based multidisciplinary artist and researcher.
The practices are often experimental and form a dialogue between politics, humanity, multiplicity, and poetics, and the work encompasses performance art, painting, outdoor installations, mask and costume making, which I weave together with poetry, movement, martial arts, sound, storytelling, and mythology to create immersive, multisensory experiences.​
Recent projects have explored the sense of otherness experienced by the Japanese diaspora in the West, as well as the simultaneous otherness and prejudice faced by returnees in Japan — expressed through personal narratives of transformation and displacement.

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Yokai — shape-shifting spirits and monsters from Japanese folklore — embody the thresholds between the visible and the invisible, the human and the non-human.
Their presence inspires my practice, and I often express myself through transforming into objects or Yokai, using both made and found materials.

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A recurring motif in my practice is the fox: sly, cunning, and mysterious — a shape-shifter and agent of transformation in Japanese mythology and folklore, as well as within the realm of Yokai.
Shinto and Buddhist interpretations, along with the sanctification and spiritualisation of objects, form essential aspects of Japan’s rich cultural landscape, where monsters, ghosts, and incarnations have long lived close to human imagination.

The desire to embody the fox and harness its mercurial nature provides a totemic methodology to provoke awareness of socio-political issues.
Whether foxes are shallow or prudent, benevolent or vengeful, remains unanswered; yet their actions and traces of spirituality invite reflection.
Through this ambiguity, I explore lost narratives, human–nature relationships, and alternative ways of thinking about the environment.
In an age of ecological crisis and cultural fragmentation, the fox’s liminal presence offers a lens through which to reimagine coexistence and resistance.

Consequently, I am drawn to recreating the ‘fox’s trickery’ through outdoor performance.
Most of my work takes place in nature, with minimal use of man-made objects.

I deliberately avoid restricted sites such as theatres, churches, or private homes, favouring open spaces where unpredictability and connection with the natural world shape the experience.
Through these open-air encounters, I aim to blur the boundaries between performer and environment, ritual and activism — inviting audiences into spaces where transformation and empathy become possible.

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Living as a Japanese, gender-fluid artist in the West is integral to my work.
Within this context, traditional gestures and cultural rituals from various countries reflect my multicultural heritage, upbringing, and interpersonal histories.
The relationships I maintain with family and friends in Japan and England form ongoing veins of research, connecting my work to broader cultural lineages.

I am deeply committed to equality, inclusivity, and openness. For instance, I draw attention to the exclusivity of Kabuki, where all roles are performed by men, and contrast this with the Takarazuka Revue, where women play both male and female roles according to specific aesthetic codes. Butoh, Vogue, and Drag challenge and play with gendered performance norms in fluid and subversive ways. By referencing these diverse traditions, I question how performance can simultaneously reinforce and subvert systems of gender and power.