“Electric Girl” is an animated work depicting the everyday life of the protagonist with her anthropomorphized refrigerator at home. In the ending animation, to express the idea that quiet happiness can be found in the small events of everyday life, motifs were borrowed from the poem, “In spring, there are flowers; in autumn, the moon; in summer, cool breezes; in winter, snow. If there are no trivial matters weighing on one’s mind, then these are the best times in life,” and the changing seasons were portrayed. In addition, alongside the use of ink and watercolor in the artwork, imagery of stickers and stamps often used when collaging a planner was incorporated, in an attempt to convey the feeling that “precious days were carefully recorded.”

This is MONA 2025 MOVIE WORKS.

This work is an attempt to depict “opposite-shoreness” through the two presences of shadow (reality) and painting (ideal). A shadow is a trace of not having reached the ideal, and a presence that reflects the present self at actual scale. It bears the imprint of the time that has passed, including failure and setbacks. In contrast, a painting is an image that projects the artist’s inner ideals and desires, and exists as another point of arrival different from reality. Reality and ideal. That distance can never be bridged. And yet, perhaps that very gap is what drives people to keep pursuing something.

A vertical lyric video for RADWIMPS’ single “Meidai,” the theme song used for Nippon TV’s news zero. Featuring visuals linked to the jacket artwork designed by the band themselves, the lyrics move in an unstable yet free-flowing dance. The stamps used in the background are designed in coordination with the jacket artwork, and all of them were hand-stamped.