1 — Rule
A short algorithm is written in Python, p5, or Swift. The rule is the spine of the piece: one paragraph of intent, a handful of parameters, and a clear definition of when the work is finished.
Selected Works · 2019 — 2026
A library of generative pieces, drawn from paper, code, and quiet rules.
Each work begins as a small geometric idea and grows through iteration — a study in how minimal rules, carefully set, can produce forms that feel inevitable. Browse by series, medium, or year.
The Archive
Forty-three pieces, eight series, one studio.
Filter by series to find a thread of inquiry that speaks to you. Every piece is available as a fine art print, a code edition, or a custom commission for interior, exhibition, and editorial work.
Folded Light, No. 14
A study of crease patterns. Four nested diamonds collapse into a single point of warm red — the moment a paper fold becomes a horizon.
Edition of 25
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Quiet Fields, III
Sine waves slowed to a near-stillness. Drawn by a pen plotter over six hours, the line learns the room's temperature and the paper's grain.
Edition of 12
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Ink Drift 7.2
A sumi ink simulation, run for ten thousand steps. The pool settles into a single nested ellipse — black at the centre, paper at the edge.
Open edition
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Cipher Garden (Bilateral)
A 3×3 grid keyed to the 256 bytes of a single haiku. Red cells mark vowels; the rest is negative space and quiet rule-following.
Edition of 50
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Ginza Six, Atrium (2023)
Five suspended aluminium panels for the central atrium. The red square's position is computed live from the building's daylight sensors.
Site-specific
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Quiet Fields, VI — The Studio Wall
A 1.8 m panel, the largest in the series. Two red points anchor the composition; everything between them is governed by a single rule.
Unique piece
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How a piece is made
Three rooms in the studio — rule, mark, frame.
The work moves through three spaces in our Tokyo studio. Each room has a different rhythm, a different tool, and a different kind of attention.
2 — Mark
The rule is sent to a pen plotter, a screen, a CNC mill, or a 3D printer. We choose the slowest possible tool for the idea — usually paper, ink, or aluminium — and let the medium push back.
3 — Frame
Each piece is signed, editioned, and prepared for the wall. We work with framers in Kyoto for paper, and a fabricator in Sumida for metal and acrylic editions.
Continue
Read the field notes, or meet the studio.
Every series is documented in the journal — early sketches, failed runs, and the small decisions that shaped the final piece. Or step inside the studio to see where the work is made.