Through a psychological phenomenon known as pareidolia, two dots have an ability to anthropomorphize anything, giving life to one object. When two can equate to one—a fitting metaphor for art: where there’s always an artwork and a viewer. I believe that art is in fact the relationships one develops with and through the experience of an artwork.
Since I was five, art has mediated my relationships with the world. I would make my own toys, with the same mentality that I use to create work today—considering imagination to be a type of theoretical framework that combines the cute with the conceptual. My artwork, in a way, has played the role of imaginary friends that I have progressively engaged with in deeper conversations.
Recently, these conversations have centered around the Hawaiian Pidgin dialect of English and sugarcane plantation immigration history as it relates to my own ancestry. As a Japanese-Uchinanchu American with a large cross-cultural family, my identity has served as a vehicle through which I better navigate and understand abstract notions of home, community, and pedagogy.