paper cut series
2022 Year of the (water) Tiger, featuring Corona Virus, 2021
Sumi ink on hand cut stone paper, 21 x 27.9cm
Sumi ink on hand cut stone paper, 21 x 27.9cm
Fish and Ships II, 2021
Hand cut washi paper, 10 x 14cm
Hand cut washi paper, 10 x 14cm
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Furusato: Patterns from Pilgrimage, Noosa Regional Gallery, 2020-2021
Image: Noosa Regional Gallery
Gosenken Nagahama, 2020, hand cut polymer paper, 148 x 148cm
Katagiri, 2020, hand cut polymer paper, 147 x 147cm
Nagano, 2020, hand cut polymer paper, 145 x 145cm
Osaka II, 2020, hand cut polymer paper, 149 x 149cm
Takatsuki, 2020, hand cut polymer paper, 146 x 146cm
Itoshima, 2020, hand cut polymer paper, 143 x 76cm
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Image: Noosa Regional Gallery
Fukuoka, 2020, hand cut polymer paper, 146 x 146cm
Kyoto, 2020, hand cut polymer paper, 145 x 145cm
Osaka, 2020, hand cut polymer paper, 145 x 145cm
Shizugatake, 2020, hand cut polymer paper, 145 x 145cm
Takatsuki II, 2020, hand cut polymer paper, 147 x 147cm
Tokyo, 2020, hand cut polymer paper, 147 x 96cm
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Artist Statement
Furusato: Patterns from Pilgrimage" features a new series of large-scale hand-cut paper works that map my journey in Japan exploring my grandmother's and ancestral history through patterns documented along the way. My maternal grandmother is Japanese, and our family has an amazing modern and ancestral history that continues to inspire me and my practice. My grandmother met my Australian grandfather in Japan after WWII during the British Commonwealth Occupation Force, where they married and had my aunty. Once the White Australia policy changed in 1953, they moved to Australia where my mother was born - in fact, she was the first baby born to a Japanese War Bride in Queensland.
My research and conversations with my mum and grandmother over the years has made me realise what a pioneering time this was. After WWII I know my mother experienced a lot of social stigma as her father was seen as marrying the enemy at the time. The sentiment towards Japan and Japanese people after the atrocities committed during the war took a long time to heal, so during this time my grandmother tried as hard as she could to assimilate into Australian culture. As a result, my mother wasn't as exposed to her Japanese heritage as much as she may have been today. I feel it is part of my duty as the next generation to preserve this part of our maternal heritage by connecting through language, tradition, custom and aesthetic found within my work.
Further back in our family's history, my grandmother has always told us we have Samurai ancestry dating back to the 17th century. Katagiri Katsumoto is the name of our ancestor who also happens to be one of the famous seven samurai in the battle of Shizugatake (which was adapted into the Western version The Magnificent Seven).
In late 2018, I was funded by Asialink Arts for a Creative Exchange in Japan, which included a six-week residency in the beautiful regional island of Kyushu, then an exhibition in Tokyo. When I travelled between the residency the gallery, I mapped out and visited all the places my grandmother told me our ancestor was connected to, as well as her own history meeting and marrying my Australian grandfather during the Occupation.
Along this pilgrimage I documented patterns on the manhole covers in each locality, mapping the places my feet were travelling along, imagining how my ancestors walked along these same paths. I didn’t know at the time if or how these may be used later.
The journey was a life changing experience for me. As an artist it validated my personal history, and the narrative I wanted to connect with through my work. I realised my purpose as an artist was to continue the connection with my Japanese heritage, through studying and celebrating the Japanese design aesthetic within my work.
Another discovery made during this trip was when I visited a museum to learn more about our Samurai Ancestor Katagiri Katsumoto. I had bicycled and walked there with only a small backpack, and the museum curator was surprised so find a foreigner out in the regional area. He explained to me that this Samurai didn’t have any direct lineage, not having children. We both realised my ancestor was in fact his younger brother, Katagiri Sekishyu, who was a famous Tea Master that developed a form of tea ceremony between Samurai and diplomats that we still know in some form today. He inherited the nobility from his Samurai brother and that has passed down to my family, to where my grandmother still talks highly of our heritage.
The concept of furusato is nostalgia for the past, remembered, desired, or constructed (Robertson, 1988). Generally, the word means "one's home" or "one's hometown", but it is also perceived to have connotations of a place that is not a city, and it invokes a strong sense of nostalgia with warm and positive emotions. This fits beautifully with my experiences walking along the path of my ancestors and of grandmother in Japan. It is also the name of a Japanese kid's song, which I will never forget, as my blind great Aunt ninety-five years' young sang it to me when I met her for the first time during this trip. It is the same song she used to sing to my grandmother when she was a child.
Furusato: Patterns from Pilgrimage" features a new series of large-scale hand-cut paper works that map my journey in Japan exploring my grandmother's and ancestral history through patterns documented along the way. My maternal grandmother is Japanese, and our family has an amazing modern and ancestral history that continues to inspire me and my practice. My grandmother met my Australian grandfather in Japan after WWII during the British Commonwealth Occupation Force, where they married and had my aunty. Once the White Australia policy changed in 1953, they moved to Australia where my mother was born - in fact, she was the first baby born to a Japanese War Bride in Queensland.
My research and conversations with my mum and grandmother over the years has made me realise what a pioneering time this was. After WWII I know my mother experienced a lot of social stigma as her father was seen as marrying the enemy at the time. The sentiment towards Japan and Japanese people after the atrocities committed during the war took a long time to heal, so during this time my grandmother tried as hard as she could to assimilate into Australian culture. As a result, my mother wasn't as exposed to her Japanese heritage as much as she may have been today. I feel it is part of my duty as the next generation to preserve this part of our maternal heritage by connecting through language, tradition, custom and aesthetic found within my work.
Further back in our family's history, my grandmother has always told us we have Samurai ancestry dating back to the 17th century. Katagiri Katsumoto is the name of our ancestor who also happens to be one of the famous seven samurai in the battle of Shizugatake (which was adapted into the Western version The Magnificent Seven).
In late 2018, I was funded by Asialink Arts for a Creative Exchange in Japan, which included a six-week residency in the beautiful regional island of Kyushu, then an exhibition in Tokyo. When I travelled between the residency the gallery, I mapped out and visited all the places my grandmother told me our ancestor was connected to, as well as her own history meeting and marrying my Australian grandfather during the Occupation.
Along this pilgrimage I documented patterns on the manhole covers in each locality, mapping the places my feet were travelling along, imagining how my ancestors walked along these same paths. I didn’t know at the time if or how these may be used later.
The journey was a life changing experience for me. As an artist it validated my personal history, and the narrative I wanted to connect with through my work. I realised my purpose as an artist was to continue the connection with my Japanese heritage, through studying and celebrating the Japanese design aesthetic within my work.
Another discovery made during this trip was when I visited a museum to learn more about our Samurai Ancestor Katagiri Katsumoto. I had bicycled and walked there with only a small backpack, and the museum curator was surprised so find a foreigner out in the regional area. He explained to me that this Samurai didn’t have any direct lineage, not having children. We both realised my ancestor was in fact his younger brother, Katagiri Sekishyu, who was a famous Tea Master that developed a form of tea ceremony between Samurai and diplomats that we still know in some form today. He inherited the nobility from his Samurai brother and that has passed down to my family, to where my grandmother still talks highly of our heritage.
The concept of furusato is nostalgia for the past, remembered, desired, or constructed (Robertson, 1988). Generally, the word means "one's home" or "one's hometown", but it is also perceived to have connotations of a place that is not a city, and it invokes a strong sense of nostalgia with warm and positive emotions. This fits beautifully with my experiences walking along the path of my ancestors and of grandmother in Japan. It is also the name of a Japanese kid's song, which I will never forget, as my blind great Aunt ninety-five years' young sang it to me when I met her for the first time during this trip. It is the same song she used to sing to my grandmother when she was a child.
Shiver, Onespace Gallery, curated by John Stafford, 2019
Artist Statement
The patterns in this work are inspired by shark skin, exploring the line details in the 'dermal denticles' (skin teeth) seen at microscopic levels, which give is a unique hydrodynamic advantage. The work pages homage to the connection to shark skin in Japanese culture, linking with my family heritage. Shark skin has been used as one of the materials to cover Samurai sword handles, providing strong grip for warriors. It is also used to create traditional 'oroshiki', which are graters for making wasabi, where shark skin in wrapped around a small paddle and turns the root into a waste. Initially a topic I was one unfamiliar with, sharks have now become a creature and cultural reference that I've found visual and historical connections with.
The patterns in this work are inspired by shark skin, exploring the line details in the 'dermal denticles' (skin teeth) seen at microscopic levels, which give is a unique hydrodynamic advantage. The work pages homage to the connection to shark skin in Japanese culture, linking with my family heritage. Shark skin has been used as one of the materials to cover Samurai sword handles, providing strong grip for warriors. It is also used to create traditional 'oroshiki', which are graters for making wasabi, where shark skin in wrapped around a small paddle and turns the root into a waste. Initially a topic I was one unfamiliar with, sharks have now become a creature and cultural reference that I've found visual and historical connections with.
Grate white shark skin, 2019
Hand cut paper
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Grate white shark skin (detail), 2019
Hand cut paper
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Nanakorobi Yaoki (Fall down seven times, stand up eight), Craft Vitrine, Melbourne 2019
Artist Statement
This exhibition is an extension of a show I have planned in Tokyo in December 2018, as part of my Asialink Creative Exchange and residency in Japan. The work features hand cut paper installations inspired by the patterns found in my Samurai ancestor's armor-wear, which took on additional meaning when I became a breast cancer warrior at the end of 2017. The work features three paper cut armor plates, each hanging down like a curtain, creating an installation that illuminates the patterns of my mixed Japanese-Australian heritage, and paying homage to the battle I have now won.
This exhibition is an extension of a show I have planned in Tokyo in December 2018, as part of my Asialink Creative Exchange and residency in Japan. The work features hand cut paper installations inspired by the patterns found in my Samurai ancestor's armor-wear, which took on additional meaning when I became a breast cancer warrior at the end of 2017. The work features three paper cut armor plates, each hanging down like a curtain, creating an installation that illuminates the patterns of my mixed Japanese-Australian heritage, and paying homage to the battle I have now won.
Wagara I, 2019
Hand cut paper
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Wagara II, 2019
Hand cut paper
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Wagara III, 2019
Hand cut paper
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Barcaldine Artist Residency 2019
Artist Statement
It was an incredibly life-changing experience to be the 2019 artist-in-residence for Barcaldine Arts Council. Landing in Longreach and taking the wheel towards Barcaldine introduced me to the broadest of horizons – literally and metaphorically. I found the landscape so different – it challenged me as an artist and as a Queenslander. I felt like I’d only just started to scratch the surface of this state’s expansiveness.
Having the opportunity to judge the annual art prize was a fantastic way to introduce the high calibre of creativity in the region and meet other artists in person. It was heart-warming to see the connection to the landscape and community directly reflected in these works. It was a challenging task narrowing works down to pick winners in each category.
As I spent many hours and occasions traversing the landscape over the next week, what struck me most was the distinct colour combinations – the brightest of blue skies contrasting with rich red and orange earth, and dispersed with dark drought-resistant foliage. Kangaroos and kites became part of the landscape, and I felt overwhelmed by the beauty in this resilient environment. The natural inspiration was complimented by the social and political history of Barcaldine. I found myself enveloped in a rich tapestry of historical moments – from the shearer’s strike, to the tree of knowledge and the healing artesian bore water.
Having the opportunity to enter the lives of local artists was a special occasion to experience life at its most personal level in the outback. I managed to visit cattle stations, permaculture farms and a cottage garden oasis in the middle of sunburnt country. Sharing a plate of baked treats with a cuppa and conversation, formed connections that will continue to outlive the experience of being there.
As an artist who predominantly works in monochrome, I felt at first challenged then exhilarated by the depth of colour in every view. I doted on the details of wild flowers, the patterns in the bark of tress, the endless tire patterns in the sandy roads, and personalities of local birds following my adventures.
I’ve come back to my Brisbane with a new appreciation of the Queensland outback, in all its natural beauty and community strength. I look forward to staying in touch with Barcaldine – both through the ideas and inspiration feeding new works, and through the friendships I’ve made.
It was an incredibly life-changing experience to be the 2019 artist-in-residence for Barcaldine Arts Council. Landing in Longreach and taking the wheel towards Barcaldine introduced me to the broadest of horizons – literally and metaphorically. I found the landscape so different – it challenged me as an artist and as a Queenslander. I felt like I’d only just started to scratch the surface of this state’s expansiveness.
Having the opportunity to judge the annual art prize was a fantastic way to introduce the high calibre of creativity in the region and meet other artists in person. It was heart-warming to see the connection to the landscape and community directly reflected in these works. It was a challenging task narrowing works down to pick winners in each category.
As I spent many hours and occasions traversing the landscape over the next week, what struck me most was the distinct colour combinations – the brightest of blue skies contrasting with rich red and orange earth, and dispersed with dark drought-resistant foliage. Kangaroos and kites became part of the landscape, and I felt overwhelmed by the beauty in this resilient environment. The natural inspiration was complimented by the social and political history of Barcaldine. I found myself enveloped in a rich tapestry of historical moments – from the shearer’s strike, to the tree of knowledge and the healing artesian bore water.
Having the opportunity to enter the lives of local artists was a special occasion to experience life at its most personal level in the outback. I managed to visit cattle stations, permaculture farms and a cottage garden oasis in the middle of sunburnt country. Sharing a plate of baked treats with a cuppa and conversation, formed connections that will continue to outlive the experience of being there.
As an artist who predominantly works in monochrome, I felt at first challenged then exhilarated by the depth of colour in every view. I doted on the details of wild flowers, the patterns in the bark of tress, the endless tire patterns in the sandy roads, and personalities of local birds following my adventures.
I’ve come back to my Brisbane with a new appreciation of the Queensland outback, in all its natural beauty and community strength. I look forward to staying in touch with Barcaldine – both through the ideas and inspiration feeding new works, and through the friendships I’ve made.
Barcaldine Flowers Study I, 2019, hand cut paper
Postle bird studies, 2019, hand cut paper
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Nanakorobi Yaoki, Studio Kura and No. 12 Gallery Japan
Artist Statement
The idea for this work began during my battle of breast cancer in 2018. Diagnosed at 31 years of age, I endured four major surgeries, chemotherapy and hormone therapies throughout the year. I spent my days in hospital drawing self-portraits in Samurai armour, channeling my ancestor's strength and keeping my mind busy. As I studied various armory, I became interested in their unique patterns that protect the wearer. This series explore those patterns translated into hand cut paper works, in red paper to recognise the strength my ancestor gave me during this time. The works were created during an artist residency in Kyushu Japan, funded by Asialink Arts Creative Exchange.
The idea for this work began during my battle of breast cancer in 2018. Diagnosed at 31 years of age, I endured four major surgeries, chemotherapy and hormone therapies throughout the year. I spent my days in hospital drawing self-portraits in Samurai armour, channeling my ancestor's strength and keeping my mind busy. As I studied various armory, I became interested in their unique patterns that protect the wearer. This series explore those patterns translated into hand cut paper works, in red paper to recognise the strength my ancestor gave me during this time. The works were created during an artist residency in Kyushu Japan, funded by Asialink Arts Creative Exchange.
Arm-ah, 2018, hand cut paper
Shoulder armour, 2018, hand cut paper
Breast Plate, 2018, hand cut paper
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Patterned plate, 2018, hand cut paper
Skirt armour, 2018, hand cut paper
Torso armour, 2018, hand cut paper
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Aware Exhibition, Graydon Gallery, New Farm 2016
Artist Statement
These works were the first series of paper cuts created after I moved to Brisbane at the end of 2015. After living on the land in rural Thailand for the two years or so previously, I found myself in a small flat in New Farm with safety bars on the windows, feeling like a caged bird. I decided to use this theme as an opportunity to research the local birdlife of Brisbane and use the cage as a way to capture these birds in a strong visual design. The works were displayed in a group exhibition with the Brisbane Artsworkers Collective in 2016.
These works were the first series of paper cuts created after I moved to Brisbane at the end of 2015. After living on the land in rural Thailand for the two years or so previously, I found myself in a small flat in New Farm with safety bars on the windows, feeling like a caged bird. I decided to use this theme as an opportunity to research the local birdlife of Brisbane and use the cage as a way to capture these birds in a strong visual design. The works were displayed in a group exhibition with the Brisbane Artsworkers Collective in 2016.
Snow Mountain Quail, 2016, hand cut paper and embroidery hoop
Regent, 2016, hand cut paper and embroidery hoop
Pacific Golden Plover, 2016, hand cut paper and embroidery hoop
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Goshawk, 2016, hand cut paper
Australian Darter, 2016, hand cut paper and embroidery hoop
Eastern Rosella, 2016, hand cut paper and embroidery hoop
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Fish and Ships, handcut paper 2012
Artist Statement
This work is a visual metaphor for my parent's marriage. My mother is half Japanese, referenced in the koi carp and ocean wave pattern. My father is Australian with heritage dating back to the First Fleet. Our convict ancestor came to Australia on this very ship featured in the work. Together they create my own identity as a Japanese-Australian artist.
This work is a visual metaphor for my parent's marriage. My mother is half Japanese, referenced in the koi carp and ocean wave pattern. My father is Australian with heritage dating back to the First Fleet. Our convict ancestor came to Australia on this very ship featured in the work. Together they create my own identity as a Japanese-Australian artist.
Fish and Ships, 2013, hand cut paper
Tilt your head and dance, 2017, hand cut paper
Artist Statement
With the curatorial direction of 'disco' this work plays with the disco ball, by using as mirror as the substrate to display a hand cut paper work. Created using a single piece of white paper, the design creates the illusion of a ball with tiny squared mirrors. When the viewer looks at the work they their reflection contributes to the work as well. The work was displayed at First Coat Studios in the 'Disco Show' curated by David Usher in 2017.
With the curatorial direction of 'disco' this work plays with the disco ball, by using as mirror as the substrate to display a hand cut paper work. Created using a single piece of white paper, the design creates the illusion of a ball with tiny squared mirrors. When the viewer looks at the work they their reflection contributes to the work as well. The work was displayed at First Coat Studios in the 'Disco Show' curated by David Usher in 2017.
Tilt your head and dance, 2017 hand cut paper and mirror
Repetition Suspicion, 2013, Gympie Regional Gallery
Artist Statement
The threat of nuclear meltdown from the Fukushima power plant inspired the perverse patterns in these works. From double-headed paper cranes, atomic mushroom clouds and gas masks, these hand cut paper works collectively contemplate the uncertainty of our future living with the threat of radiation. Inspired by the beautiful patterns found in Japanese kimonos, these works lure the viewer in with their beauty only to discover the sinister message within them.
The threat of nuclear meltdown from the Fukushima power plant inspired the perverse patterns in these works. From double-headed paper cranes, atomic mushroom clouds and gas masks, these hand cut paper works collectively contemplate the uncertainty of our future living with the threat of radiation. Inspired by the beautiful patterns found in Japanese kimonos, these works lure the viewer in with their beauty only to discover the sinister message within them.
A sign of warning, 2013, hand cut paper
Nuclear Power Plants, 2011, hand cut paper, acquired by Toowoomba Regional Gallery Collection
Coy Koi, 2011, hand cut paper
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Coy Koi II, 2012, hand cut paper
Co-Cranium Cranes, 2011, hand cut paper
Power, 2013, hand cut paper
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Masking truth, 2013, hand cut paper
Earthlines, 2013, hand cut paper. As part of the 2013 Flying Arts Queensland Regional Art Award Touring Exhibition 'The Essential Character of Queensland'
Artist Statement
The essential character of Queensland lies within its diversity of landscapes. Deserts, agricultural land, coastline, rainforests and cities each define Queensland in their unique aspects. I chose to create a work that reflected the desert landscape, most likely a reflection of a recent relocation to rural Queensland. The dry earth became a heavy feature of Queensland landscape especially in the recent drought of the last decade. The last few years of rain has certainly enabled the earth to soak up its natural health again, demonstrating the delicate balance in nature that we have no control over. This fragility in nature is interpreted in the fine lines of a paper-cut - mimicking the cracks in the earth, and creating a pattern of interwoven lines and channels.
The essential character of Queensland lies within its diversity of landscapes. Deserts, agricultural land, coastline, rainforests and cities each define Queensland in their unique aspects. I chose to create a work that reflected the desert landscape, most likely a reflection of a recent relocation to rural Queensland. The dry earth became a heavy feature of Queensland landscape especially in the recent drought of the last decade. The last few years of rain has certainly enabled the earth to soak up its natural health again, demonstrating the delicate balance in nature that we have no control over. This fragility in nature is interpreted in the fine lines of a paper-cut - mimicking the cracks in the earth, and creating a pattern of interwoven lines and channels.
Earthlines, 2012, hand cut paper
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Earthlines (detail), 2012, hand cut paper
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