Sachiko Kamiki is an artist who constantly ventures into new territories. Between change and continuity, what does Kamiki observe and seek to depict? Her latest works reveal character portrayals that differ from her previous approach. In this interview, we delve deeply into the concept behind her new works for the upcoming exhibition “𝗣𝗼𝗿𝘁𝗿𝗮𝗶𝘁𝘀 𝗶𝗻 𝗕𝗹𝗼𝗼𝗺” in January 2026, the depths of her creative process, and the philosophy she embeds in her art.

Unity Born from Harmony with Space

- What do you think is the greatest change in your works for this exhibition that feels "different from before"? Is this change an intentional attempt, or something that emerged naturally in the flow of your creative process?

Kamiki: I don't particularly feel there's a change that's different from before. Rather, I was conscious of creating unity for the exhibition. I imagine the gallery space and think about the size and composition of the works from there.

As I progress with my work, sometimes the composition naturally changes from what I initially conceived, and sometimes it proceeds according to the original plan. Even if I intentionally try something, the creation rarely proceeds as I imagine. I don't really have the sense that my style has changed; I combine various approaches, extracting elements from past works or taking from new ones. I have small prints of my previous works posted in my studio, and I often create while being influenced by looking at them.

- Could you tell us specifically about any new approaches in technique, materials, or creative process?

Kamiki: I create a basic composition with four colors—red, yellow, black, and white—and apply these colors to each work. The techniques and materials themselves haven't particularly changed. I wasn't conscious of changing them, but as I continued creating, I feel that the colors I choose and create have gradually become more defined.

These four colors were inspired by the cohesive space of the Ginza gallery where the exhibition will be held. To match that space, I thought of painting somewhat subdued, cohesive pictures. I initially had the desire to use black, and when I added white, red, and yellow to it, it felt right and that's how it was decided.

However, I want to incorporate playing with many colors and materials into my creation without being fixated on my usual colors. When things are too cohesive, there's a concern that it might lean too much toward design, so I'm exploring while being mindful of that point.

Beyond Mere Beauty: The Fusion of Figures and Flora

Sachiko Kamiki “fantasist” 2025, 65.2 × 53.0cm, Acrylic on Canvas

- Is there a theme you want to express in this exhibition?

Kamiki: In this exhibition, while using flowers and trees that I've been painting for a long time as motifs, the main theme is their fusion with human figures. Rather than having figures as the main characters and flora as supporting elements, I struggled to make both function as main characters.

By deliberately distorting realistic expressions, I create a sense of discomfort for viewers, ensuring that beautiful motifs like flowers and trees don't end up being merely beautiful. My works are sometimes called "cute," but I always want to include elements that feel somewhat "scary" within that cuteness.

- I'd like to ask about continuity with your past works. Are there elements that connect to this series or motifs you consciously repeat?

Kamiki: I tend to repeatedly paint motifs like human figures and flora. I don't have specific models, but I paint influenced by the people I've encountered throughout my life. I often get inspiration from the clothing and colors of people I see on the street.

The human body expression in my works differs from real people. However, within that expression, I draw lines so that the emotions and personalities of the depicted people can be conveyed through parts other than facial expressions. Flora is also a motif I often paint repeatedly, but I'm always conscious not to depend on it too much.

The Two-way Relationship Between Artwork and Viewer

Kamiki’s works

- How do you want the audience to receive this style? Are there any expectations you have for viewers?

Kamiki: This is something I always think about during duo exhibitions. There's a space with "me" and, in this case, "the other person," Huang Pin Tong. I was conscious of the figures in the works as "third parties" while creating.

I made the gazes of the figures in the works ambiguous, so that rather than being unilaterally gazed at by the artwork, the viewer looks at the people in the works. And I hope anl interaction emerges where the figures in the works also seem to be looking back at us. It's not just wall decoration, but a sense that they "exist" there.

However, I have no intention of interfering with viewers. I hope people who see the works will enjoy them as they perceive them.

- How do you think this current attempt will connect to your future work? Could you share your current outlook on whether this is a temporary experiment or a new direction you'll continue?

Kamiki: It's not specifically about this current attempt, but recently, by using fruit as motifs, I've been experiencing a sensation where "taste" is added to works that are still lifes. If flowers and trees are things that make us feel vitality and splendor, fruit gives a kind of scrumptious appeal to the works.

Only after painting did I realize that delicious-looking works can be made and I want to continue painting motifs that bring works to life like this.

Kamiki's creation, which values harmony with space, is always born from dialogue with her past self. Her works stand before viewers as "beings," quietly yet seeking interaction. The subtle sense of discomfort and fear lurking beneath their seemingly charming appearance is what gives the works depth and vitality.

Her attitude of leaving interpretation to the viewer's freedom seems to embody the inherent freedom that art possesses. Kamiki will continue to invite us into new sensory worlds through repetition and experimentation.

Portraits in Bloom: Sachiko Kamiki & Huang Pin Tong