A commemorative movie produced to mark Pom Pom Purin’s 25th anniversary, with Pom Pom Purin serving as director, screenwriter, and star to thank all the Pomubassadors. I helped Pudding-chan out.

Music video for the band Tigermilk. Responsible for everything except the filming. Green screen shoot and compositing at vocalist Hirayama’s home.

This work is an animation based on my past experience of confronting death for the first time, set on the Shimanami Kaido. In some regions across Japan, there is a custom called “honekami,” in which, after cremation, one eats the bones of the dead in an attempt to take them into oneself and overcome grief. Whether I wanted it or not, my family in my hometown had this custom. The first death I experienced was my father’s, but when I was made to try “honekami” as part of the ritual, I could not bring myself to chew the bones. That became a childhood trauma: an experience of being unable to face my father’s death directly, and not knowing how to accept it. Like an imaginary bone stuck in my throat, it could not be put into words, nor could it be forgotten. More than ten years have passed since I left my small, distant hometown at the age of 15. Fireworks storage buildings still remain along the island’s coast. The fact that there were fireworks magazines, rather than air-raid shelters, in my neighborhood made me feel that death and merciless violence existed for me not as something to be endured, but as something to be inflicted. When I think about these things as an adult, I came to link my father’s bones with the fire in the fireworks magazine, and decided to face “honekami” once again. The island’s landscape and sea are full of life, and within their calmness there is an unchanging severity. The shadows of the dead still exist in the same space and time, both now and in the past. Through this project, by blurring the boundary between life and death, I sought to create a confrontation with the bones I could not chew. The visual concept of this project was to merge natural landscapes with childhood memories, and to visually bring memories to life through the accumulation of dots. For this reason, I used colored pens to layer pointillist dots on paper, then filmed the paper under a camera while placing it over transmitted light. In doing so, I hoped to entrust the haziness of memory and the emotions of childhood to the technique as particles of colored light.