Untraditional CV
Traditional and Not-So-Traditional Art Practice :
I have engaged in several traditional Japanese art forms, which have taught me that the fascinating Japanese culture has developed through centuries of creative ideas, actions, thoughts, and lives. These art practices have not only trained my senses in form, color, space, movement, and selection but have also become invaluable resources in my journey as a Social Practice Artist.
Shodo - "The Way of Writing": Shodo is traditionally viewed as a form of calligraphy or artistic drawing of the Japanese language. My mentor in Sho Art, Shofu Wakayama, approached it as an ongoing experimentation, practice, and discovery. He creatively challenged traditional Shodo rules and was a pioneer in introducing color into this grayscale art form. Shofu-sensei's innovative approach also included incorporating Western-style frames into his work. He emphasized that his practice was not about adhering to a set path but about exploring 'Another way of writing.' This mindset reflects his respect for tradition and awareness that what he was doing diverged from the traditional way of Shodo. He encouraged me to integrate my diverse creative knowledge and curiosity into Shodo, centering on my own exploration while maintaining respect for my heritage. His work expanded the audience and interest in Shodo, serving as a gateway to traditional Sho. In this journey with Shofu-sensei, I learned that tradition and innovation coexist and enhance each other's value, highlighting that there is always "another way," and this very concept can enrich the tradition itself.
Sado or Chado - "The Way of Tea": The Japanese tea ceremony, Sado or Chado, is more than just serving and drinking tea; it's a comprehensive cultural ritual that encompasses living philosophies, religious elements, the art of tea utensils, and the artworks placed in the tea room. Sado is a collaborative art experience enriched by Japanese art and craftsmanship, involving both hosts and guests. I have participated in and hosted various Sado ceremonies, each unique with its blend of people, conversations, and settings. I almost think that Sado could be a traditional version of Art and Social Practice. Each experience is unique, reflecting the dynamic interplay of tradition, hospitality, and artistry, and reinforcing my belief in the power of cultural practices to foster community and creativity.
Artistic Engagement:
2016: Participated in a Sho Art Group exhibition with Shofu Wakayama in Sapporo, Hokkaido, Japan.
2015-2018: Practiced Sho Art under the mentorship of Shofu Wakayama in Sapporo, Hokkaido, Japan.
1992-1996: Studied Sado (Chado) under Yoko Takeuchi in Mombetsu, Hokkaido, Japan.
1982-1987: Practiced Shodo under Japan Shodo Kyokai and Japan Educational Shodo Kyokai, and obtained certificates in Mombetsu, Hokkaido, Japan.
Educational Experience :
In Japan, students are required to decide on their major before entering college. In high school, my interests spanned a wide range of fields, including political science, broadcasting, and art. To accommodate my diverse interests, I chose liberal arts as my first major, allowing me to study a broad foundation. Upon moving to the United States for further study, my goal was to gain not only academic knowledge and a bachelor's degree but also hands-on creative skills. At ArtCenter, I focused on branding and total visual communication. Beyond learning the basics of design, I delved into the development of culture and values in people’s minds.
A well-designed poster can be attractive, but an entire campaign, with its variety of formats, carries more information and offers greater accessibility. All communication pieces, including taglines, visuals, music, space, interface, and experience, gradually build up a particular image or world in our minds. I've always been fascinated by this result and the process behind it. ArtCenter was also a hub of collaboration. Being a studio-focused institution offering nine other majors at that time, students from different disciplines frequently worked together on projects. In essence, collaboration was not just encouraged; it was essential. This environment taught me how to seek help, communicate effectively with collaborators and volunteers, and the importance of sharing the excitement.
Academic Credentials:
2022-current: Master of Fine Arts in Art and Social Practice Program, Portland State University, Portland, Oregon.
Bachelor of Fine Arts in Graphic Design, Art Center College of Design, Pasadena, California.
Associate of Arts in Social Behavioral Science, Citrus College, Glendora, California.
Associate of Arts in Liberal Arts, Hokkaido Musashi Women's Junior College, Sapporo, Hokkaido, Japan.
Community Related Experience :
Growing up in a family that ran a local newspaper company, the concept of community has always been an integral part of my life. I am perpetually curious about what makes a community special: its members, its history, how it operates, and its aspirations for the future.
I've learned that communication is a vital key for any community. Effective communication not only encourages people but also empowers the entire community. My PR work for the Yosakoi Soran Festival was instrumental in gaining sponsors, participants, and audience by spreading excitement and awareness, contributing to the community's fulfillment and the event’s success. Seeking out engaging news resources for the press also honed my observational skills and creativity. Healthy communication is essential to understand others and maintain connectivity within a community.
I am often responsible for communication within a community and to the public, and this has become a significant part of my career. Currently, I serve as a communication hub for Oya No Kai, coordinating programs with various organizations in Portland and Japan. I excel at synthesizing ideas and initiating action.
Positions and Engagements:
2021-2023: Program Manager for Oya No Kai, Portland, Oregon.
2013-2018: Member of Tomoe Kindergarten, Sapporo, Hokkaido, Japan.
2006-present: Board member of Nanka Dosanko Kai (formerly Southern California Hokkaido Society), Gardena, California.
2018-2020: Member of Oya No Kai, Portland, Oregon.
2002-2004: President of Japanese Students’ Organization at Art Center College of Design, Pasadena, California.
1999-2006: Member of Southern California Hokkaido Society, Los Angeles, California.
1999-2003: Administration Officer in the Committee for Yosakoi Soran Festival Organizations, Sapporo, Hokkaido, Japan.
1997-1998: Assistant Editor for the local magazine “Poroco,” Cosmo Media, Sapporo, Hokkaido, Japan.
1995-1997: PR Lead for the Yosakoi Soran Festival Organization, Sapporo, Hokkaido, Japan.
Teaching Experience :
Growing up with three younger siblings, I naturally began paying attention to others and tended to nurture them. This innate tendency was recognized by others; one friend affectionately called me "mom," while another compared me to a grandmother figure. I've always taken such remarks as compliments, though I've been careful not to let my caring nature overextend into my friendships. Noticing people’s behavior and feelings has significantly enhanced my ability to understand others.
In college, an instructor observed my potential as a teacher. Initially uncertain, I later recognized that my life had been rich with educational experiences, and indeed, I had a natural talent for instruction. Sharing experiences, thoughts, and ideas with students and participants has always been fulfilling for me. My interest in education deepened significantly after becoming a mother and making informed choices about schools and educational environments for my daughter and myself, furthered by my exploration of various educational philosophies and systems.
Positions and Contributions:
2023-present: Assistant Instructor for "Art with Kids - Museum in a Public School" class in collaboration with Portland State University at King School Museum of Contemporary Art, Portland, Oregon.
2021-present: Instructor for Extension Class at Saeki High School, Hiroshima, Japan.
2024: Guest Speaker for MM Lifestyle Online Community
2024: Guest Speaker for JAC-US DEI Webinar
2021: Guest Instructor for Kurabu (Online Summer Camp) at Richmond Elementary School, Portland, Oregon.
2021: Guest Instructor for Kurabu (Online Summer Camp) at Mt. Tabor Middle School, Portland, Oregon.
2020: Guest Speaker for Career Design Forum at Nara Women’s University Junior High School, Nara, Japan.
2020: Guest Teacher for International Study Class at Ryukoku University, Kyoto, Japan.
2019: Intern at the Education Department in Scrap PDX, Portland, Oregon.
2013: Instructor for Brand and Communication workshop in Kitami, Hokkaido, Japan.
2013: Instructor for Brand and Communication workshop in Hakodate, Hokkaido, Japan.
2007-2009: Director for Nanka Dosanko Kai’s Dosanko High School Student Homestay Program, Los Angeles, California.
Writing and Editing :
I have always been passionate about writing, editing, and planning in Japanese. Even after establishing myself as a professional designer in the USA, I continued to produce numerous articles and zines in Japanese. Eventually, I expanded my literary endeavors to include writing in English. These projects have not only honed my writing skills but also significantly enhanced my research abilities.
[English]
2023: Contributed "Gentle Aromas and Shared Memories" featuring a story of Keia and Matin's Coffee, to "PLANET LLOYD," December 2023 issue.
2023: Contributed "Life of Art and Artists," featuring an interview with Hisashi Shibata, to "Social Forms of Art Journal," Fall 2023 issue.
2023: Contributed "Gentle Aromas and Shared Memories: The Story of Keia and Martin's Coffee" to "PLANET LLOYD," December 2023.
2023: Contributed "How an Artist Needed to be an Entrepreneur in Cambodia," featuring an interview with Lyno Vuth, to "Social Forms of Art Journal," Spring 2023 issue.
2023: Contributed "How Studying Abroad Can Change Your Life," featuring an interview with Anri Zama, to "Social Forms of Art Journal," Winter 2023 issue.
2022: Contributed "After we die," featuring an interview with Amanda Leigh Evans, to "Social Forms of Art Journal," Fall 2022 issue.
[Japanese]
2020: Contributed articles to the online magazine "SMOUT," Japan.
2020: Contributed articles to the online Sustainable and Business Magazine "ALTERNA" in Japan.
2019: Self-published the zine "Rinne.zine" in Japan.
2017: Produced an anniversary booklet for the Hokkaido Dosanko High School Student Homestay Program, in both California and Hokkaido, Japan.
2016: Created a community zine "POLITICIAN" in Sapporo, Hokkaido, Japan.
2015: Produced a community zine titled "Politician, Satoshi Arai" in Sapporo, Hokkaido, Japan.
Translation/ Interpretation :
Language is one of the most powerful tools for understanding differences, connecting with others, and continually finding inspiration. It's deeply intertwined with culture and lifestyle.
Have you ever read and compared more than two translations of the same story? The translation, choice of words, and expressions—all reflect the understanding and interpretation of the translator. Translation is an art in itself, demanding effective communication and collaboration between the author and the translator.
I have learned from, by, and through languages. Serving as a communication hub as a translator has provided me with tremendous opportunities to explore the world. Through the events listed below, I learned about many artists and their challenges. These experiences have drastically impacted my life and have been fundamental in shaping my journey as a Socially Engaged Artist.
2018: Served as a translator for Sapporo Yuki Terrace 2018, Sapporo, Hokkaido, Japan.
2017: Worked as an official translator for the Asia Winter Game, Sapporo, Hokkaido, Japan.
2016: Provided translation services for AiR Camp Asia Forum, Sapporo, Hokkaido, Japan.
2016: Translated for the Forum “AiR: The Attraction by Creative Residency,” Sapporo, Hokkaido, Japan.
2015: Offered translation for AiR Camp Asia Forum, Sapporo, Hokkaido, Japan.
2015: Contributed as a translator for the ESIN creative workshop, Sapporo, Hokkaido, Japan.
Branding and Design :
After intensive design training at Art Center College of Design, I have worked on numerous creative projects as a designer for a diverse range of clients, from large corporations to individuals. Global projects have taught me how to design systems that function across various cultures and establish common values for people, companies, and society. I deeply understand design as a means of problem-solving, and I recognize that collaboration is key to resolving these problems.
In addition to designing, I have also taken on roles as a creative director and/or project manager for many projects. Understanding the clients' needs, their culture, and their real objectives is essential for the success of any project. Developing core concepts and effective communication is crucial. These roles have honed my skills as a communicator and collaborator.
Professional Engagements:
2018-present: Freelance Creative Director, Portland, Oregon / Clients: Kaika, Mitsu Yamazaki, Time4Pilates/Yumiko Abbott, Chika Shishido.
2014-present: Alliance Creative Member at COMMUNE, Sapporo, Hokkaido, Japan / Clients: Samsung, Kanno Honey Farm, Shinone Apple Farm.
2013-present: Freelance Creative Director, Sapporo, Hokkaido, Japan / Clients: Office for Satoshi Arai, Kanno Honey Farm, Shinone Apple Farm, Date Family Farm, Ussagy, Megumi Nursery School.
2007-2013: Creative Director, Studio Verno, Torrance, California / Clients: Otokoyama, Kikkoman, S&B, Panasonic, J-goods magazine, Royal Elstics, BeanCube.
2005-2007: Design Lead at Hello Design, Culver City, California / Clients: Disney, National Geographic, Yahoo, USA Network, Saatchi & Saatchi.
Social Business Challenge :
Starting a new business or social challenge is often more difficult than supporting existing ones. Alongside respected team members, I co-founded a new social challenge, "Rinne," which operates an upcycle craft bar, Rinne.bar, in Tokyo. Inspired by Portland and based in Japan, Rinne aims to open Japan's first creative reuse center. Leveraging our understanding of cultural differences between Portland and Japan, we've adopted the concept of creative reuse into Japan's prevalent style of communication, "Nominication" (drink-communication). We promote the enjoyment of creative reuse to foster people's creative confidence and power the engine for a better world.
Rinne is an experimental social network focused on community building and cultural exchange. Established as a corporation in 2018, Rinne operates unconventionally, with no specific assigned roles for members. Our team consists of seven core members, one of whom is a paid employee, with the rest as unpaid founding members. Each with different backgrounds and expectations, running Rinne has been a unique, challenging, and exhilarating journey.
A core project of mine within Rinne is collaborative product development with the social welfare facility Tomos Company in Tochigi, Japan. Tomos produces beautiful Sashiko (a traditional Japanese hand-stitching technique) products, made by individuals unable to hold regular full-time positions due to health conditions. These handcrafted products, made with care and love, now have an extended story through our upcycled product line. With this collaboration, Tomos's products have reached Portland, opening doors to a broader world of possibilities. This partnership has been a significant experimental process, teaching me about the joy and inclusivity with which the stitchers and their supporters work.
Key Milestones:
2021: Pop-up shop Rinne.pdx at “Art Picnic Portland” and “Zero,” Portland, Oregon.
2021: Developed collaborative Sashiko and upcycled products with Social Welfare facility “Tomos Company,” Tochigi, Japan and Portland, Oregon.
2020: Produced RinnePDX camp with International Special Program Office of International Affairs, Portland State University, Portland, Oregon (Canceled due to COVID-19).
2020: Launched Rinne.pdx as a hub for cultural exchange and social challenge, Portland, Oregon.
2020: Opened Creative Reuse Bar, Rinne.bar, Tokyo, Japan.
2019-2020: Interned at SCRAP PDX to learn about Creative Reuse Centers, Portland, Oregon.
2019: Raised 1,653,000 yen ($14,297.21) through a fundraising website for opening a Creative Reuse Bar, Tokyo, Japan.
2019: Conducted a Creative Reuse Pop-up Workshop at an event called “Lean by Creation,” Tokyo, Japan.
2019: Organized a sustainable camp with 9 original members from Tokyo and Portland, Oregon.
2018: Conducted research on the secrets of Portland's sustainability, Portland, Oregon.