I believe the appeal of glass lies in the way it constantly changes its appearance as it receives, transmits, and reflects light.

While studying the traditional techniques of Edo Kiriko, I have explored both the beauty of its regularly patterned designs and the potential for free expression that transcends those boundaries.

The soft forms created by blown glass and the intricate lines carved by Kiriko. When these two techniques—each with its own distinct characteristics—overlap, a new expression emerges that cannot be achieved by either alone.

My studio name, “ninifuni,” derives from the Buddhist term “而二不二” (ninifuni). It refers to the concept that two distinct things exist as one while each retains its own individuality.

Blown glass and Kiriko techniques; tradition and modernity; regularity and chance; light and shadow.

Rather than pitting these seemingly opposing elements against one another, I aim to have them coexist within a single work, in a relationship where they mutually enhance each other’s appeal.

A piece is not fully defined the moment it is completed. New expressions emerge depending on how the light falls, the viewing angle, and the movements of the person holding it.

I hope these pieces will be a source of quiet richness in the heart when you happen to catch a glimpse of them in your daily life.

With these thoughts in mind, I engage with each piece of glass individually.