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01 Two Neighborhoods: Southeast Texas and Southern Kyushu, oil on unstretched canvas, 64x51", 2017
Exhibited at Detour, Online Juried Exhibition, University of Maine at Farmington, 2020
Exhibited at Sequential: Comics and Studio Art, the Art Studios Inc., Beaumont, TX, 2019
Exhibited at Detour, Online Juried Exhibition, University of Maine at Farmington, 2020
Exhibited at Sequential: Comics and Studio Art, the Art Studios Inc., Beaumont, TX, 2019
02 Two Downtowns: Southern Kyushu and Southeast Texas, oil on unstretched canvas, 64x51", 2017 (collection of Art Museum of Southeast Texas)
1st Tier Prize, 69th Miyanichi Comprehensive Art Exhibition, Miyazaki Prefectural Art Museum, 2017
Exhibited at Recent Acquisitions, the Art Museum of Southeast Texas, Beaumont, TX, 2020
Exhibited at Sequential: Comics and Studio Art, the Art Studios Inc., Beaumont, TX, 2019
1st Tier Prize, 69th Miyanichi Comprehensive Art Exhibition, Miyazaki Prefectural Art Museum, 2017
Exhibited at Recent Acquisitions, the Art Museum of Southeast Texas, Beaumont, TX, 2020
Exhibited at Sequential: Comics and Studio Art, the Art Studios Inc., Beaumont, TX, 2019
03 Overpass: Miyakonojo and Beaumont, oil on unstretched canvas, 57x44", 2017
2nd Place Prize, 45th Miyazaki Prefectural Art Exhibition, Miyazaki Prefectural Art Museum, 2018
Exhibited at Sequential: Comics and Studio Art, the Art Studios Inc., Beaumont, TX, 2019
2nd Place Prize, 45th Miyazaki Prefectural Art Exhibition, Miyazaki Prefectural Art Museum, 2018
Exhibited at Sequential: Comics and Studio Art, the Art Studios Inc., Beaumont, TX, 2019
04 Two Bridges: South East Texas and Southern Kyushu, oil on unstretched canvas, 76x64", 2017
Honorable Mention, 72nd Southern Japan Art Exhibition, Kagoshima City Museum of Art, 2017
Exhibited at Sequential: Comics and Studio Art, the Art Studios Inc., Beaumont, TX, 2019
Honorable Mention, 72nd Southern Japan Art Exhibition, Kagoshima City Museum of Art, 2017
Exhibited at Sequential: Comics and Studio Art, the Art Studios Inc., Beaumont, TX, 2019
05 Caldwood Avenue (Beaumont), brush and ink over printed digital painting on paper (Photoshop), 64x51", 2019
1st Tier Prize, 71st Miyanichi Comprehensive Art Exhibition, Miyazaki Prefectural Art Museum, 2019
1st Tier Prize, 71st Miyanichi Comprehensive Art Exhibition, Miyazaki Prefectural Art Museum, 2019
06 Downtown Cafe, brush and ink over printed digital painting on paper (Photoshop), 76x51", 2019
Exhibited at the 74th Southern Japan Art Exhibition, Kagoshima City Museum of Art, 2019
Exhibited at the 74th Southern Japan Art Exhibition, Kagoshima City Museum of Art, 2019
07 Houston Drive (from John's Target), acrylic paint over printed digital painting on paper (Photoshop), 76x51", 2020
08 Unexpected Incident on I-10 (after Reinhardt), brush and ink over printed digital painting on paper (Photoshop), 64x51", 2020
Exhibited at the 2020 Art Studios Incorporated Members Exhibition, Beaumont, TX
Exhibited at the 2020 Art Studios Incorporated Members Exhibition, Beaumont, TX
09 Traversing the Rainbow Bridge (after Johns and Albers), brush and ink over printed digital painting on paper (Clip Studio Paint), 64x51", 2020
Exhibited at 2020 Art Studios Incorporated Members Exhibition, Beaumont, TX
Exhibited at 2020 Art Studios Incorporated Members Exhibition, Beaumont, TX
10 Walk and Drive (Calwood Street), acrylic paint over printed digital painting on paper (Clip Studio Paint), 76x51", 2021
Exhibited at the 2021 Art Studios Incorporated Members Exhibition, Beaumont, TX
Exhibited at the 2021 Art Studios Incorporated Members Exhibition, Beaumont, TX
11 Rainbow Bridge after Hiroshige, acrylic paint over printed digital painting on paper (Clip Studio Paint), 76x51", 2021
12 Target Return Time (after Johns), brush and ink on printed digital drawing on paper (Clip Studio Paint), 64x51", 2020
Exhibited at the 2021 Art Studios Incorporated Members Exhibition, Beaumont, TX
Exhibited at the 2021 Art Studios Incorporated Members Exhibition, Beaumont, TX
13 Raised Houses: Southeast Texas and Southern Kyushu, charcoal and ink over printed digital drawing (Photoshop) on paper, 76x51", 2018
14 Cafe Story, brush and ink over collaged printed digital drawings on paper (Photoshop), 72x48", 2019
Exhibited at Sequential: Comics and Studio Art, the Art Studios Inc., Beaumont, TX, 2019
Exhibited at Sequential: Comics and Studio Art, the Art Studios Inc., Beaumont, TX, 2019
15 Patched Platform People, brush and ink on collaged found paper, 36x36", 2020
16 Tokyo Quarantine Hotel, brush and ink on collaged paper, 64x64", 2021
Exhibited at the 66th Miyakonojo City Art Exhibition, Miyakonojo City Museum of Art, 2021
Exhibited at the 66th Miyakonojo City Art Exhibition, Miyakonojo City Museum of Art, 2021
17 Escaping America (PCR Test), brush and ink on collaged paper, 90x78", 2021
Exhibited at the 68th Miyakonojo City Art Exhibition, Miyakonojo City Museum of Art, 2021
Exhibited at the 68th Miyakonojo City Art Exhibition, Miyakonojo City Museum of Art, 2021
18 Art Studio before and during Covid-19, brush and ink and charcoal on paper, 36x46", 2021
Exhibited at the 10th What is Drawing? Exhibition, Tokyo Metropolitan Museum of Art, 2022
Exhibited at the 10th What is Drawing? Exhibition, Tokyo Metropolitan Museum of Art, 2022
19 Recycling in Southeast Texas and Southern Japan, digital painting (Clip Studio Paint) (originally brush and ink over
watercolor paper, digital pencils, 51x64"), 17x22", 2022
watercolor paper, digital pencils, 51x64"), 17x22", 2022
20 Bending Space from Direct Observation (Back Deck), oil on canvas, 18x24", 2022
Artist Statement
Drawing and Painting are the focus of my studio research. The dilemma of how to use drawing and painting media to resolve my competing interests in the human figure, urban and domestic spaces, pictorial depth, passage of time, narrative, and dynamic composition influenced by art history, contemporary art, and comics, were what initially motivated my research. Later, juxtaposing imagery from the US and Japan, the two places I live each year, has created the potential for content that compares social and cultural differences and presents audiences with a global perspective, which has become more relevant in contemporary US culture.
My studio practice relies on observational drawing and painting techniques for representing human figures in urban and domestic environments, yet I often distort subjects by working from imagination and memory. I use polyptychs and panels from comics to depict narrative and juxtapose imagery. Additionally, across various media, charcoal, ink, oil paint, collage, digital and analog drawing and painting mixed media, I use unexpected vantage points and dynamic composition, again borrowed from American comics, as way to make everyday subject matter compelling to viewers. Large scale, emphasis on composition, and exhibiting works unframed conform to some fine art conventions, yet incorporating features from the comics medium helps to engage the larger public because of comics’ familiar presence in popular entertainment.
More recent large-scale works have been brush and ink or acrylic paint over printed digital underpaintings. In these works I have worked to borrow from Western and Eastern art history, such as adapting the inscriptions and seals from Hiroshige into panels for imagery to form a visual narrative about my life in Southeast Texas, or turning Ad Reinhardt and Jasper Johns’ compositions into panel layouts for digital comic pages about everyday visual experiences. After working with digital drawing and painting for the past few years as a means to help students achieve their best digital artwork, I want to return to analog drawing and painting, charcoal on paper and oil paint on canvas.
My most recent drawings are two-page spreads for a graphic novel, penciled digitally and inked as large-scale mixed-media drawings on watercolor paper. Their subject matter focuses on my family and my experience living between two cultures, the differences in everyday life between them, and an emphasis on our experience navigating between cultures during the pandemic. In the future, I want to complete the drawings with digital inks, colors, and text for a 60-page graphic novel for publication.
Drawing and Painting are the focus of my studio research. The dilemma of how to use drawing and painting media to resolve my competing interests in the human figure, urban and domestic spaces, pictorial depth, passage of time, narrative, and dynamic composition influenced by art history, contemporary art, and comics, were what initially motivated my research. Later, juxtaposing imagery from the US and Japan, the two places I live each year, has created the potential for content that compares social and cultural differences and presents audiences with a global perspective, which has become more relevant in contemporary US culture.
My studio practice relies on observational drawing and painting techniques for representing human figures in urban and domestic environments, yet I often distort subjects by working from imagination and memory. I use polyptychs and panels from comics to depict narrative and juxtapose imagery. Additionally, across various media, charcoal, ink, oil paint, collage, digital and analog drawing and painting mixed media, I use unexpected vantage points and dynamic composition, again borrowed from American comics, as way to make everyday subject matter compelling to viewers. Large scale, emphasis on composition, and exhibiting works unframed conform to some fine art conventions, yet incorporating features from the comics medium helps to engage the larger public because of comics’ familiar presence in popular entertainment.
More recent large-scale works have been brush and ink or acrylic paint over printed digital underpaintings. In these works I have worked to borrow from Western and Eastern art history, such as adapting the inscriptions and seals from Hiroshige into panels for imagery to form a visual narrative about my life in Southeast Texas, or turning Ad Reinhardt and Jasper Johns’ compositions into panel layouts for digital comic pages about everyday visual experiences. After working with digital drawing and painting for the past few years as a means to help students achieve their best digital artwork, I want to return to analog drawing and painting, charcoal on paper and oil paint on canvas.
My most recent drawings are two-page spreads for a graphic novel, penciled digitally and inked as large-scale mixed-media drawings on watercolor paper. Their subject matter focuses on my family and my experience living between two cultures, the differences in everyday life between them, and an emphasis on our experience navigating between cultures during the pandemic. In the future, I want to complete the drawings with digital inks, colors, and text for a 60-page graphic novel for publication.