When she decided to live in NYC she observed the environment carefully throughout early years, teaching an art classes in her children’s school as a volunteer, and choosing an English speaking roommate, mixing with non-Japanese people to learn language and the life.
She took a chance to use safety pins for her works that she was using for her shortening all-too long American clothes, which suited for a person without a studio space and financial needs.
She works meticulous manipulation of unassuming everyday materials that entered her new life. At the same time, it is about a rigorously modernist practice that walks the bridge between 1960 and now.
In her installation works you can see her playful and painterly expressions.