The paintings begin unstretched on the floor. They start with large brush strokes of pigment suspended in binder. The thin cotton is flipped over. A black ink drawing is made on the reverse and sinks through to the surface. The cotton is turned over again. Traces of the studio floor find their way onto the surface.

Decisions are made on how to link these separate layers. This can be simple or involve many steps. The imagery in these works originates from drawings made at a disused quarry in Chiba, outside Tokyo. The forms suggest cities and landscapes, in conscious relation to Cézanne’s Bibémus series. Pockets of space emerge—pouches—that operate in a comparable way to the sculptures, in the manner they are framed by their boxes.

The sculptures are made from various materials: ceramics, stone, and welded metal. Works in carved stone and metal repurpose off cuts discarded by artisans at Las Casas Filipinas de Acuzar in the Philippines. The interventions are minimal, drawing attention to…