My printing technique is intricate, leading to lengthy captions during exhibitions. "Woodcut rubbing print, pigment print, Urauchi, waxing, and pastel and mica drawing". If I were to detail the materials used in my printing arts, they would become even more extensive. 




In particular, the woodcut rubbing prints I utilize function as both recording and transmitting media. The inherent eroticism of this technique plays a pivotal role in each of my works.


Recently, rubbings, known as ‘takuhon’ in Japanese, have been frequently introduced as a technique in Mokuhanga or woodblock printing. However, rubbing is the world’s oldest method of recording and transmitting information, involving the meticulous transfer of characters engraved on bronze or stone monuments.


The origin of rubbings is believed to date back to around the 17th century BC to 1046 BC in ancient China, when emperors engraved their words onto bronze or stone monuments. To promote the emperor’s authority, rubbings of these authentic stone monuments were made and distributed worldwide. There is no doubt that people from that era profoundly reverential medium the rubbings.

On the other hand, Mokuhanga, to this day, includes the element of printing. Its origin can be traced back to the ‘One Million Pagoda Dharani Sutra’ created during Japan’s Nara period in the mid-eighth century. This is considered the world’s oldest surviving print produced by woodblock printing.


拓本[唐太宗]李世民 《温泉铭》(部分)

Rubbing "Hot Spring Inscription" written in running script by Li Shimin, Emperor Taizong of the Tang Dynasty (Partial)

This image is in the public domain.


While rubbings and woodcuts both share the characteristic of producing multiple prints, it’s not widely known that their purposes are entirely different. It’s said that Jakuchu, a Japanese artist from 1716-1800, had a preference for woodcut rubbing prints. He may have been drawn to the unique aspects of this medium, as well as the fascinating process of printing.


I understand that woodcut rubbing prints have an exceptionally delicate expression that can only be achieved through this technique. I also consider the historical context of this technique to be very important in my work, especially because I work with photography. I handle materials that present various challenges, I know when I display them like museum pieces, they can serve as mediums for recording and transmitting information.


However, I believe that if that’s all there is to it, something is missing. What is it? It’s a memory. Memory is a reconstruction and creation of the world that we have seen and felt. The ability to express this in some form is the essence of creation. I use many complex techniques, like those mentioned above, to revive memories of the places I’ve visited and the things I’ve collected. And I need the woodblock that I have engraved. For me, the act of carving woodblocks carries an eroticism, as if the act and the emotion itself are being etched directly onto the woodblock. The rubbings I print as if to trace that feeling/sense are so vivid that I feel the very essence of life.







百万塔陀羅尼経 One Million Pagoda Dharani Sutra












古典から現代: テクニックの融合

From classic to modern: A Fusion of Techniques


My artistic process involves a harmonious blend of classical, traditional, and modern techniques. Here’s a breakdown of how I create my artwork:


1. Photography and Filming:

I start by capturing a wealth of visuals through digital cameras and smartphones by my eye. These images serve as the foundation for my artwork.




2. Digital Editing:

After selecting the most compelling photographs, I edit them on my computer. This step allows me to enhance and refine the visual elements.


3. Printing on “AWAGAMI” Japanese Paper:

Finished with the digital edits, I printed the image on “AWAGAMI” Japanese paper for pigment print. The choice of paper is crucial for achieving the desired texture and color depth.


4. Rubbing and Woodblock Carving:

I carve woodblocks by hand, introducing intricate touch, I print to use rubbing on Ganpi paper, introducing exceptionally delicate expression colors.




5. Layering Techniques:

To add depth and complexity, I employ a Japanese technique called “URAUCHI.” I paste two sheets of Ganpi paper onto the AWAGAMI print, creating a composite structure.


6. Wax Infiltration:

After drying, I infiltrate the artwork with wax. This process renders the paper translucent, lending an ethereal quality to the piece.


7. Pastels and Mica:

Using pastels and mica, I accentuate specific areas. Mica, inspired by Ukiyoe Hanga and Kyoto Karakami paper, helps me convey the light.




8. Multilayered Composition:

What may appear as a single sheet of paper is, in fact, a composite of multiple layers. Each technique contributes to the overall effect, bridging the gap between classical and contemporary art. In this fusion of methods, I believe we glimpse the future of artistic expression—a harmonious coexistence of tradition and innovation.




1. 写真撮影と撮影:





2. デジタル編集:

最も魅力的な写真を選択した後、コンピューター上で編集を行う。 このステップにより、視覚要素を強化し、洗練することができる。


3. 阿波紙への印刷:



4. 拓本と木版彫刻:





5. レイヤリングテクニック:

深みと複雑さを加えるために、裏打ちをする。 インクジェットプリントされた阿波紙の上に雁皮紙を2枚貼り付けて複合構造を作る。


6. 蝋の浸透:





7. パステルと雲母:

パステルと雲母を使用して、特定の領域を強調します。 浮世絵版画と京唐紙からインスピレーションを得た雲母が、光を伝えるのに役立つ。


8. 多層構成:

一枚の紙のように見える作品は、実際には複数の層の複合体である。 それぞれのテクニックが全体的な効果に貢献し、古典芸術と現代美術の間の橋渡しをする。これらの手法の融合には、伝統と革新が調和して共存する芸術表現の未来が垣間見えると私は考える。