In 1984, when I casually looked into a zinnia flower in full bloom along the roadside together with my little daughter, I became interested in the regularity of organic patterns found in zinnia flowers. Since then, I continue to create paintings originating from the shapes of flowers. The size of my paintings, which I started from my interest in the forms of flowers, continued to grow bigger and, when the canvases exceeded the size of my body, I found that the outline of the flower petals I painted were very similar to the ridge lines of mountains. Since then, while in the process of my detailed sketching, observing flowers, the energy in the images of ever-changing nature, such as mountain ranges, turbulent waves, and clouds which disappear while floating, conjured in my mind. The tiny flowers became the epitome of the grandeur of Nature for me. Now, I am in pursuit of creating paintings in which each touch of my brushes moves in a lively way as if dancing, just like breathing, and draws the attention of viewers who might feel as if there is really motion on the canvases. Additionally, I am aiming for such paintings, which form a unified world, but sometimes include contradicting elements, as if various events are continually ongoing on the canvases, causing viewers to sense the reality of my paintings mentally and bodily.At present, I am cycling back to my interest in the intrinsic shapes of the parts of flowers, such as the star-like stamens which appear temporarily among the zinnia flowers, and the spotted patterns of alstroemeria, which are reminiscent of nebula. In this way, the speech from small flowers to me continues unceasingly.