"Link" is a piece created with the only shared information being the album title and the fact that it is a track using tapping sounds, with pre-existing information (language) kept to an absolute minimum. It is a subjective visual interpretation, approaching the music more sensorially by perceiving the sounds themselves and the “feel” of those sounds. It is a sensory communication trail, and an experiment, exploring the subjective and sensory images received from sound (music), and the “individuality” that emerges when translating those sounds into visual expression. It examines how these elements “resonated” (linked) with the track created by Japanese Footsteps. The project was an experimental process in which ITOAOI created the visuals purely based on the "sound" of the track, imagining and interpreting it through sensory perception. Due to the lack of linguistic constraints, the work evokes a sense of space resonating with the sounds themselves, the overflowing continuity of sound, and the feeling of sounds trapped within. These elements were translated into ITOAOI’s high-purity, subjective imagery and movements. This piece represents the "individuality" that emerged when ITOAOI translated the subjective and sensory images evoked by the music into a visual expression, and how that "resonated" (linked) with the sounds created by Japanese Footsteps—an exploration of the sensory communication between the two.

I was in charge of directing and editing. I aimed to create a video that lets viewers experience the Jump CH content catalog in a lively, fast-paced way.

A song themed around yokan, often seen as a plain sweet, overshadowed by more eye-catching confections. I depicted the yokan in a playful and cute way, with moments that also evoke a sense of melancholy.

I was in charge of directing and producing the music video for Tenkago Rinon - Mememe no Me.

Opening film for EARTH MART, one of the Signature Pavilions at the 2025 Osaka-Kansai Expo. Through animations depicting the food chain, it expresses the connections of life through food and the idea that every act of eating is part of the cycle of life, guiding visitors into a mindset that invites them to reflect on “the weaving of life.”

The story moves forward, and this time we head to the water planet. What on earth is happening on "Chikyu"? To be continued in layer:03.

Tsukiuta for July 2024. A gentle, warm animation was created based on the worldview depicted by illustrator Hiroshi Hikino.

Animation MV directed by Hodon, deputy representative of the video production collective “Kenja.” From “Kenja,” koya participated as an animator. A song in which different emotions coexist: a melancholy melody, crystalline vocals, and fierce drum and bass. In the visuals, fragmented memories of the past with family, recalled only in pieces, are carefully animated, while in the present timeline intense animation unfolds at a dizzying pace. Against the meticulous key animation by professionals assembled by Hodon, who primarily work in TV animation, koya’s fierce, untamed drawing style collides head-on. Bridging them are Hodon’s distinctive drawing-like special cuts, which function throughout the piece. On the compositing section, “Fukkun,” who has known “Kenja” for many years, took part. Combining broad knowledge with extreme ideas, he quietly handles the compositing process from an independent perspective. He pushes the material until the finished look is distilled to a point where one can judge how it should function within the video… all the way to the end… “Easy, because we’re putting everything into it.” When the video production collective “Kenja” first started, most of the work was directed by its representative, koya. Recently, however, more projects have been coming to Hodon, with koya joining in as an animator. It’s a lot of fun to leave things to the director and say and draw whatever we want, so please continue to support us, “Kenja.” 2024/04/20 koya

Description: We abstractly visualized the heartfelt prayer of a girl who longs for the collapse of the world. In pursuit of an avant-garde, destructive visual style in which the boundary between character and world becomes blurred, we worked together with technical director Aodaruma, and the 3DCG sunflowers were created by ryoma sanpei.

A showreel featuring commercial and personal works created up to 2025. I have worked across a wide range of fields and forms of expression, including film, television, streaming dramas, commercials, and event visuals.