Calligrapher Mariko Kinoshita’s inscription of a passage from Kamo no Chomei’s *Hōjōki* is divided into squares and redefined as “fragments.” Film artist Shinichi Yamamoto assigns a time axis to those cells using a unique algorithm, while musician Corey Fuller layers an ambient soundscape built from deconstructed and reconstructed readings of *Hōjōki*, creating a multilayered interplay among the three artists’ expressions. Blending Japanese views of life and death—such as “ku” (emptiness), “engi” (dependent origination), and silence—with a meta perspective on observing landscapes, the work becomes a weighty video poem that explores universality dwelling within impermanence. First unveiled in 2019 across the outdoor large-scale digital billboards of Shinjuku, it continued to evolve and in 2020 was expanded into an immersive spatial presentation at “ETERNAL ART SPACE” in Haneda Airport. In 2024, for its exhibition at Immersive Museum TOK (Shinjuku), it was reconfigured for a vast space of approximately 430㎡ and 6 meters in height. As fragments of calligraphy overlapped geometrically with waves and graphics, it was elevated into an immersive experience as a “reconstructed modern Zen garden,” drawing viewers into a serene spiritual world.

Weekly Shonen Jump serialization “Kiyoshi-kun of the Exorcist” Volume 3 release commemorative PV. Produced with the aim of creating a fast-paced and powerful video, with a look reminiscent of risograph printing.

NHK Minna no Uta, broadcast from April to May 2025 This animation was created to accompany the song “Yūyake ga Umareru Machi,” by Ikimono Gakari meets Humbert Humbert. It was made with feelings of love for one’s hometown where one was born and raised, the resolve to keep moving forward on one’s own path, and pride in the life one has walked so far. The video posted here is an excerpt without audio. Please be sure to watch the full version with audio on the broadcast.

A motion graphics piece themed around emojis.